SIGNS OF THE SWARM / MONOSPERE // 12.06.25
AVOCADO|BOOKING – TALENT AGENCY presents
SIGNS OF THE SWARM
MONOSPHERE
Deathcore was once dismissed as a trend, so it’s ironic that it now has trends within itself. Downtempo, slamming and now blackened variants of the style have dominated its scene at various points, with many bands jumping ship.
Pittsburgh’s Signs of the Swarm aren’t just any band, though. They’re a once-a-generation beacon that radiates the sounds that surrounded them, preserving history by reframing it. On fourth LP Absolvere, they’re bleak without being blackened, smashing without being slam, and downtempo as a choice rather than a stylistic confine. And as many of their deathcore peers experiment with adding singing, often gruff in tone, they add a more ethereal style that soothes on “Dreaming Desecration” and “Death Whistle.”
The band contrasts that with some of the most brutal moments in their eight-year career, with riffs more punishing than pensive and a rhythm section that frames them in creatively cacophonic ways. Above it all, they’re utilizing vocalist David Simonich monstrous range in a much fuller capacity than on his debut, 2019’s Vital Deprivation.
That transitional album found the band experimenting to re-find their footing, which here lands on solid ground through the addition of guitarist Jeff Russo, a former bandmate of Simonich’s fin Improvidence. The proof is in the placing, with Absolvere landing at #15 on “Current Hard Music Albums,” #21 on “Top New Artist Albums” and #139 on “Heatseekers.”
Behind the cohesive crusher is drummer-turned-bassist-turned-drummer Bobby Crow, who acted as de facto producer, arranging the riffs written across Skype to make the songs more than the sum of their parts.
This gave Simonich a lofty platform from which to roar about the real (loved ones struggling with addiction, submitting one’s self wholly to art despite negativity swirling about) and the surreal; he or his characters beg for the release of death only to be denied. “Nameless” centers around a character collecting souls marked by death to receive its blessing, while “Blood Seal” follows a ritual to summon it. “Dreaming Desecration” and “Hollow Prison” are two sides of the same coin. When one finds themselves trapped in a meaningless existence, they can either attempt to escape through murderous hallucinations or succumb to the grave, respectively.
“Death Whistle” is the penultimate song, closing the album and the writing sessions for Absolvere with a tale concluding in sweet release. The piercing screech of the titular whistle contrasts with a subtle serenade.
Indeed, sometimes contrast can be a perfect complement, but more often that effect is achieved when paired with something more in-line. So it is when Ben Duerr (Shadow of Intent) and Alex Erian (Despised Icon) join the band for growls and shouts, where Signs of the Swarm filter their guests’ bands through their own sound. Instead of taking away from their identity, it expands it.
They’re steadily expanding their global reach, too. In the few short months since Absolvere’s release, Signs of the Swarm have toured with the likes of Fit for an Autopsy, Born of Osiris and Shadow of Intent. Forthcoming domination campaigns of Europe and Australia will be added to their tenure with Aborted, Lorna Shore, Brand of Sacrifice and more. Forget the signs, the swarm is already here, and it’s growing larger and louder every day.
Nach dem Release von „The Puppeteer“ (2021) und „Sentience“ (2023) haben die Mainzer Monosphere die deutsche Prog/Post-Metal-Szene kräftig aufgewühlt und mit ihrer Single „The Unknown Voice“ im Mai 2024 und Direct Supports für Karnivool, Cradle Of Filth sowie internationalen Touren mit The Hirsch Effekt, DVNE und Wheel endgültig die Speerspitze ihrer eigenen Nische erreicht. Mit ihrem Sound, den man als Progressive Post-(Black)-Metal beschreiben könnte, veröffentlichen Monosphere ihr neues Werk „Lapse“ und deuten auf das dritte Album ihrer Karriere.
„Lapse“ elaboriert ein atmosphärisches Intro im Stile von Cult Of Luna und The Ocean mit einem explosiven Post-Metal Vibe und bedrückendem Sounddesign. Unterteilt in zwei Stücke, versteht sich „Lapse, Pt. I“ als Intro, das pyramidenförmig zum Höhepunkt des Tracks führt und diesen mit düsteren Klangteppichen detailliert vorbereitet. Elektronische Elemente und Kevin Ernsts
Gesang in seiner bisher ausgereiftesten Form schlagen Brücken zu Sleep Token und Agent Fresco, während sich der sludgige Post-Metal Vibe von einem Intermezzo in Trve Norwegian Black Metal Manier unterbrechen lässt und klar macht, dass Monosphere nichts an ihrer brachialen Härte einbüßen. Mit einem chaotischen Ende, das sich musikalisch zwischen Car Bomb, Meshuggah, Imperial Triumphant und The Dillinger Escape Plan einordnen lässt, brechen Monosphere die Geradlinigkeit der ersten vier Minuten und überraschen mit einem avantgardistischen Ansatz, der wie ein Cliffhanger auf den Release ihres dritten Albums deutet, welches 2025 erscheinen soll. Wie Rodney Fuchs kommentiert:
„‘Lapse‘“ ist das erste Stück eines neuen Abschnitts und deutet darauf, was man 2025 musikalisch von uns erwarten kann. Wir geben nichts auf Trends, Hype oder passen uns an, um der Musikindustrie gerecht zu werden und präsentieren als Resultat unser stärkstes Material bis heute, von dem wir alle zu 100% überzeugt sind und das dank einer lupenreinen Produktion an Macht gewinnt.“
Produziert und gemixt von Justin Felder (The Hirsch Effekt, Heretoir uvm.) und gemastert von Tony Lindgren eröffnen Monosphere ein neues Kapitel, das die Band auch visuell in einem neuen Image illuminiert.
