Even with the chill in the air, March 4th was a beautiful day in Minneapolis. Along with the chill, you could feel the excitement exuding from the fans making their way into First Avenue. There was a lot to be excited about. This was a Sold-Out hometown show for Mod Sun. The crowd was all ages and was a perfect mix of recent fans attending their first concert and longtime fans who have been following and attending Mod’s shows for 10+ years.
Pardyalone, who also calls Minnesota home, opened the show. I had not heard of him before this tour. His performance did not disappoint and I fell in love with his unique sound immediately. He played six songs and sang his heart out and I really loved how often he made connections with the audience during his set. Mod Sun said later in the show that Pardyalone is the next big thing-and I am inclined to agree with him. He just dropped a new song and video on March 6th “Alone” ft. Travis Barker. You can check it out here.
Next was the Australian pop/punk band, Stand Atlantic. The female fronted quartet had the crowd hyped up and bouncing their whole set. I had heard of Stand Atlantic in the past because of Warped Tour, but didn’t get a chance to really listen to their music until recently. I regret not making time to really listen to it sooner, because it’s just so fun to listen to and their live show was amazing! It was impossible not to bounce around or dance to every single song. They’re now a staple in a few of my playlists.
While the energy was already high, it was like an explosion when Mod Sun hit the stage. His whole set was mostly songs from his 2 most recent albums, God Save The Teen and Internet Killed the Rockstar. His setlist was uniquely emotional, from love songs like Eyelids and Avril’s Song (tonight it was Minneapolis’ song) to throwbacks to some of his older songs and his cover of Iris (originally by the Goo Goo Dolls). And we can’t leave out the breakup/bad relationship songs, Stay Away and Karma. I think the most touching moment for me was when he brought his mom up on stage to dedicate and sing her the song “Single Mothers” which is a song off of God Save the Teen that he wrote just for her. I don’t think there was a dry eye left in the house by the end of the song.
Before playing “Battle Scars”, Mod had a few raw, intimate words to say. (TW: Drug use / addiction)
“…I’m standing here before you now, 3 years, 9 months and 14 days without putting drugs in my body. …. 90% of the shows that I’ve played I don’t even remember because I used to get so fucked up on stage. But I want you to know, right now, tonight, I am 100% present with you Minnesota, and I will never forget this night.
If anyone in this room is dealing with something similar to me, whether it’s drugs, alcohol, any kind of addiction…maybe it’s anxiety, maybe it’s depression, maybe sometimes you have a negative-ass voice inside of your head when you wake up in the morning that tells you, ‘Stay asleep, fuck the world, you don’t gotta do shit…’ I just want you to know right now … It’s a crazy world outside those doors, but when we are inside this building, inside these walls together, I know one thing for sure…We are all EXACTLY where we are supposed to be tonight.”
If you are a local or familiar with First Avenue, you may already know why selling out a show at this venue is extra exciting. If you don’t, let me enlighten you. When an artist sells out a show at First Avenue, they get their name on a star on the side of the building. Getting one of those stars has been a dream for Mod for years. And now he’s got one. Although I’ve been to a lot of concerts at First Ave, I haven’t been to any that sold out and that was really cool to experience and I will remember the words he said to the crowd to end the night:
“We officially sold out First Avenue, Minneapolis…I will never, EVER forget tonight.”
Rival Town is a heavy pop punk band from Ontario, Canada
They are gearing up for a new album and their first single “RUN” was just released! The song starts off strong with a theme- like intro. The lyrics feel very relatable to anyone struggling with mental health. The music video has very interesting lighting that matches the vibe of the song and band. It’s a good song to release as their first single due to how easily you’ll be able to dance and sing to it. Some really cool timestamps include 1:24 they switch it up and highlight the piano for a solid moment and at 1:37 the bridge slows down the song and the band does a really good job building up to the chorus again. The ending hits hard with a scream that really solidifies what I think the song is trying to represent. All in all, I cannot wait for what else they have in store!
Lauv’s popularity has been on an upward trajectory over the past few years. He had a few hit singles in the late 2010s before releasing his debut LP in spring of 2020. Two years on from that release, he has dropped his sophomore LP, “All 4 Nothing.” The summer and fall of this year brought a tour in support of those two releases. It was his first tour in over two years, as well as the first concert I’d photographed in that time, and what a phenomenal comeback it was in both aspects.
Up first was Chicago-based musician David Kushner. The musician rose in popularity over the last several months after snippets from two of his songs went viral on TikTok. The set started with “Burn,” followed by one of the two aforementioned viral songs, “Miserable Man.” For his third song, he switched things up a bit by playing a more recent track, “Look Back & Laugh.” At the time, the track was unreleased, giving the concertgoers a taste of his debut EP, “Footprints I Found.” He closed the set out strongly with what is arguably his most popular song, “Mr. Forgettable.” Kushner is a very talented vocalist and musician who writes very poignant music, and his performance moved the crowd.
On this particular night, he also happened to be celebrating his 22nd birthday. In the middle of the set, people came out on stage with a sign alerting the crowd that they should sing “Happy Birthday” to him, although the crowd had already gotten a jump start on that just a moment prior.
Next up was Hayley Kiyoko, who brought tons of energy to the stage right from the get-go. She was constantly moving and jumping around, especially in the first few songs of her set, and the many fans in the crowd sang along to previous hits and tracks from her newly-released album “Panorama.” The setlist was primarily comprised of more recent tracks, with six out of the eight songs being from that album. The other two were some earlier hits of hers – “Curious,” from her first full-length album, and “Girls Like Girls,” which she concluded the set with, and at which point she waved pride flags handed to her by fans in the audience.
Finally, at 9:30 P.M., the lights once again dimmed and Lauv’s set began. As fog filled the stage, Lauv began playing “26,” the opening track to his new album. About halfway through the song, the spotlight turned towards him. He continued with another single from that album, “Kids Are Born Stars,” before deciding to turn back in time and play a couple of much older tracks of his, “Paris In The Rain” and “Chasing Fire.”
Lauv has always been open about his experiences with mental health, and he took a moment to tell his story to the crowd and promote his new guided meditation before playing “Modern Loneliness,” one of my favorite songs of his. Another highlight of the set was when he played the reflective “Hey Ari,” a song that shows him checking in with himself and looking back on the progress he’s made. Part of what made this part of the set particularly special is that, during the chorus, the crowd asked the question that becomes the main hook of the song: “Hey Ari, are you happy?”
Since this tour was in support of two albums, the majority of his set consisted of those songs and contained a pretty even split of tracks from “All 4 Nothing” (such as “Molly In Mexico,” “Bad Trip,” “Stranger,” and “Stay Together”) and tracks from “how i’m feeling” (including “Tattoos Together,” “Who,” “Lonely Eyes,” “i’m so tired,” and “Drugs & The Internet”). The 23-song set concluded with one of the songs that jumpstarted his career in the first place, “I Like Me Better.”
Each artist on the lineup put on an engaging live show, and it was a great night all around.
I’m starting this review with the obvious, I am very very lucky. Post covid life for photographers has been pure insanity. I’ve been denied more shows this year than any other in my 4 years of shooting shows. So being able to shoot such a monumental tour for the metal scene, I am beyond grateful. Obviously, this tour was absolutely a treat for me to shoot. I had more fun than ever, made tons of new friends, and was brought back to my days as a teenager with angst in my heart and eyeliner smudged on my face. Let’s recap one of the best nights of my emo kid life.
Lilith Czar was definitely the artist most unfamiliar to me. I definitely had to jam her album in my two hour car ride, but despite how amazing it was, nothing beat seeing her perform in person. Apart from being stunningly beautiful, she was absolutely radiant on the stage. She was meant to be up there. Despite not bringing any rowdiness to the crowd, everyone was entranced watching her. Her entire band was outstanding, the rock music blended with witchy charm, making everyone in the crowd feel like they could conquer the world. I am definitely looking forward to some of the tour bills she is on in the coming months, as I am eager to see her perform again.
Every elder-emo knows Black Veil Brides. The scene veterans still absolutely rule even after almost a decade. I found myself singing along to songs I forgot I knew every word to. The band was a very important part of my life and where I am now, as they were my introduction to the scene. And it’s always amazing to see the opener making the crowd wound up. While their music isn’t quite the same as the metalcore that makes people ready to mosh, the fans still made sure to keep the crowd moving. I cannot stress the overwhelming talent of both Jake and Jinxx, arguably the best guitarists in the scene to this day, CC and his outstanding drumming, and of course, the frontman of legend, Andy. Years later, and they still put on one of the best shows to watch live.
At this point in my professional career, my love of Ice Nine Kills is no secret. And I can’t bring into words how much I absolutely adore this band. So I’ll let my friend’s words sum it up. I took him to his first Ice Nine Show this year, and as soon as we left the venue, he looks at me and says, “ When you said horror metal, I was expecting The Misfits, and you just showed me fucking Rammstein.” And he’s right. Ice Nine is always larger than life. I had a good laugh with a fellow photographer, who had never shot the band before. She expressed how she’s never seen such an insane act in front of her. And I agree. They are forever unmatched in the energy, presence, and entertainment value. The somewhat tame crowd came alive and almost feral as the first chords rang out through the Fillmore. Ricky and Joe are both incredible support vocally for the always outstanding Spencer. Chris is a magician on guitar, and Patrick’s bone shaking drumming is the perfect bow on top of the absolute gift of a show the band always provides. I’d be lying if I said I wasn’t counting the days until I get to see them again.
I was raised in the 570. Motionless in White are something of hometown heroes for me and many others. Philadelphia always ends up being a welcome home show for them, and that usually makes it the craziest show you will ever attend. Even down a man on stage, Motionless in White will never disappoint. I have to give huge credit to their photographer Bryce, as he created one of the most beautiful stage shows I’ve ever seen with LED screens and visuals. It was a treat to be able to take photos of it. I’ve been following Motionless around for years, and they quite literally just get better every time I see them. They have an amazing, natural way of making the entire crowd feel like they’re hanging out with their best friends. They also have a way of making a crowd go feral, and that’s sometimes a photographer’s nightmare. But dodging crowd surfers is worth seeing an entire room of people like me have an amazing time at a concert. Their setlist was packed full of heavy hitters that even the most casual of fans could scream along to. The entire band are outstanding performers, and you can see the joy in their faces while they do so.
This tour was a really special thing for me, and a lot of people. I truthfully don’t think I will ever have this much fun at a show again. I’m always grateful I get to work with such amazing artists, and am beyond thankful for all the amazing photographers I met that night. I will always be chasing nights like this night I had in Philadelphia.
After announcing their first ever headlining tour, Heart Attack Man set out in early March with Covey, Arm’s Length, and Blood Root. They played at HQ in Denver, Colorado on March 30th, 2022. The bands arrived early to play rounds of cornhole at the venue with the fans before entering the venue.
Starting off the night were the Nashville, TN locals, Blood Root. The lights were dark and blue, setting an intimate vibe as the fans were still filling inside of the venue. Playing songs off their most recent EP Crux, they played “O.H.E.” with meaningful lyrics and a soft vibe. Picking up the tempo a bit more, they played “Self-Medicating on a Weekday” the fans were more captured by the music. As the set went on, more fans arrived and was clear that the music from Blood Root was enjoyable and relaxing.
Setlist:
O.H.E.
Self-Medicate
Start A Fire
Teeth
Tether
Your Girl
Conversations
Next up was Arm’s Length from Ontatio. I haven’t listened to them before but was presently surprised with their set that night. The tempo picked up more during their set with “Safer Skin” and the fans moved more and sang along. They played more songs off of their recent EP from last year, “Everything Nice,” with a mix of between emo and pop-punk, the wistful guitar interplays and poetic pretensions. Finishing off their set, they surprised the crowd with playing a cover of Taylor Swift’s “Mine.”
Setlist:
Object Permanence
Safer Skin
No Sleep/Blank Slate/Eve
Gallows Humor
Watercolour
Garamond
Mine (Taylor Swift cover)
Would you believe it if I said that Covey has over 1.4 million followers on TikTok? Neither would have I if I hadn’t looked it up myself. It’s not everyday that you see bands promoting themselves on social media in a way that benefits them in the best ways possible. Covey came out and played the most interesting set I’ve seen, and in a good way. They played “Sam Jam” which started off slow and melodic but was taken off guard at the end when fans were singing “F*ck that guy, I hope he’s dead.” At one point, I remember him chanting something about teeth and looking around as others were just as confused as I was. During the last song, they had everyone get on the stage with them singing along and dancing as they finished their set.
The infamous Heart Attack Man was next and was most excited to see them as they’re one of my favorite bands these days. I heard and saw pictures on twitter of Eric coming out into the crowd on a tricycle and doing tricks before getting on stage and that was just the case. It wouldn’t be right if they started off the set without playing “Puke” to get the energy up even higher. People were pushing, singing, and even two stepping. They played songs off their latest EP “Thoughtz & Prayerz” hence the name of the tour. After a few songs in, Eric asked if anyone had a birthday that night in the crowd and sadly there were none, but that didn’t stop them from playing “Old Enough 2 Die.” I was hoping they would play older songs from “Fake Blood” and they did. I caught myself singing along as they played “Crisis Actor,” probably one of my favorite songs off that album. The crowd was wild the entire night, with people crowd surfing left and right and even Eric himself as well. Finishing off the night, they ended with “Leap Year” as more people ended up on stage with them to jump into the crowd and sing into the microphone with them.
August Burns Red Brings The Belasco To A New Level On Their Leveler Anniversary Tour
Venue: The Belasco Theater in Los Angeles, CA
Date: 12/8/21
August Burns Red has been a leading band in the metalcore genre for quite some time. The band solidified themselves with their sophomore album “Messengers.” They garnered a large following from then on, constantly innovating in their song structure and musicality. For the tenth anniversary of their fourth album, “Leveler,” the band re-recorded the album in its entirety, bringing on special guests and changing the tunings of the songs from then on. In celebration of this, they embarked on a 10th-anniversary tour supporting the album, which they played in its entirety. Unfortunately, a few of the crew and band members caught COVID-19 on the run of dates in October due to the pandemic, forcing the band to postpone about a week’s worth of dates to December. Regardless, I am beyond stoked I got to cover this date for August Burns Red, along with the incredible lineup of Fit For A King, ERRA, and Like Moths To Flames.
Up first was Like Moths To Flames from Columbus, Ohio. This is a band that I first got into in 2012 when I saw them on the “Scream It Like You Mean It Tour” alongside bands like Attack Attack!, We Came As Romans, and more. The band is the perfect middle ground between metalcore and post-hardcore. Since the last time I photographed and saw them back in 2018, the band found their new label at UNFD, where they dropped their fifth album “No Eternity In Gold” in 2020, along with their new EP “Pure Like Porcelain” in 2021. The band really strengthened their sound on these new releases. Chris Roetter’s vocals were showcased to the highest power on these releases, truly showing off his vocal prowess. Their single “Habitual Decline” in particular pops off like no other, both live and on record, showing off Chris’ cleans and screaming. Guitarists Zach Pishney and Jeremy Smith flourish on these releases as well, really bringing the instrumentals to new levels. I started feeling the band incorporating some elements of progressive metal on some songs, which, as many will tell you, is my favorite subgenre of metal personally. Unfortunately, bassist Aaron Evans was unable to make the rescheduled dates for whatever reason, which was my first time seeing the band without him. He has an entertaining stage presence that was sorely missed for me, but Chris Roetter was on top of that crowd, really getting people hyped like no other. Roman Garcia closed out the band’s live lineup on drums, who absolutely smashed through those drum parts with precision. The band played six songs that night, playing songs from their first album to the newest EP. Like Moths To Flames is always an incredible band to see live, and I cannot wait to hopefully see and photograph them on their upcoming co-headliner with Polaris in March – April!
SETLIST
The Worst In Me
Habitual Decline
I Solemnly Swear
Preservation Of Hate
The Anatomy Of Evil
Bury Your Pain
ERRA from Birmingham, Alabama, was up next. The last time I saw these progressive metalcore boys was in 2019, when they did a co-headlining tour with Northlane. The band has since released its critically acclaimed self-titled album via UNFD in 2021, which helped the band garner even more fans and streams galore. The band opened their set with the song “Gungrave,” which has some heavy riffage from guitarists Jesse Cash and Sean Price, the vocal stylings from JT Cavey, the deep bass grooves from Conor Hesse, and the intricate drum patterns from Alex Ballew. The song has that iconic yin and yang in vocals between Jesse’s cleans and JT’s screams. The band then went on to play their heaviest song from the self-titled album “Scorpion Hymn.” JT’s vocal prowess is on full display here, truly showing off his range. From lots of mids, screeching highs, and deep gutturals, JT is truly a powerhouse, and this song showcases all of his abilities in one. The instrumental structure of this song is much darker than many of their other songs, making this song a standout on the record as a whole. In contrast, the following song the band played is “Divisionary,” which is much brighter in sound compared to “Scorpion Hymn.” Jesse’s vocals are the song’s focal point, but those contrasting parts with JT’s screaming help give the song layers and momentum. The intricate guitar patterns really stand out to me in this song, along with a thick prominent bass tone in the latter half of the song, which gives Conor his’ moment to shine. The band played a total of 8 songs throughout the set, showcasing the band’s newest album and songs from previous releases. I was thoroughly excited to hear how these new songs translated live, and they definitely did not disappoint. I cannot wait to see and photograph these guys again on their spring tour as they support Beartooth, Silverstein, and The Devil Wears Prada!
SETLIST
Gungrave
Scorpion Hymn
Divisionary
Eye of God
Irreversible
Breach
Vanish Canvas
Snowblood
Up next was Fit For A King from Dallas, TX. This was my fifth time seeing these metalcore greats, and they once again did not disappoint. Since I saw them in November 2019, the band dropped their sixth album in 2020 titled “The Path” on Solid State Records. It was met with critical acclaim and became the band’s most successful release to date streaming-wise. The band opened the set with the song “Stockholm,” which is a heavy banger to open the set with. This is one of the heavier songs from “The Path,” with Ryan Kirby’s iconic gutturals and lower toned vocals, the deep bass grooves from Ryan “Tuck” O’Leary, those chuggy guitars from Daniel Gailey and Bobby Lynge, and the fast and tight drums from Jared Easterling. This was Fit For A King’s first tour as a five-piece since 2013, with Bobby returning to the live stage for the tour. This was also the last run of shows with drummer and founding member Jared Easterling, who announced his departure prior to the tour. The band then went on to play the song “Locked (In My Head),” which was one of the leading singles from the new album. Locked definitely has a more post-hardcore vibe, reminiscent of the bands from the early-mid 2000s while still having a modern edge. Tuck and Ryan do an incredible job going back and forth on those clean vocals, really providing an emotion-driven melodic song to the mix that helped push the band’s boundaries in terms of what can be expected going forward. Continuing this momentum, the band then played “Breaking The Mirror,” which is all about overcoming past failures and pushing forward. The band really brought it to the next level with this new record, and the crowd was eating it up, with lots of crowd surfing and moshing galore. The band played a total of 11-songs, most of which came from “The Path” and “Dark Skies” and one song from “Deathgrip.” The band has really strengthened their core sound while still broadening out on what is possible. I cannot wait to see and photograph them on their “Dark Path Tour” in the spring as they headline the US with Silent Planet, Hollow Front, and AVOID supporting them. It will be an incredible time, and I cannot wait to see these metalcore boys again!
SETLIST
Stockholm
Locked (In My Head)
Breaking The Mirror
When Everything Means Nothing
Annihilation
The Price Of Agony
Deathgrip
Backbreaker
The Path
Tower Of Pain
God Of Fire
August Burns Red from Lancaster, Pennsylvania, came up next to the stage. The band came out swinging with the brand new opening track from the Leveler re-recording “X,” a wholly instrumental track. Bassist Dustin Davidson came out front and center, plucking those deep bass notes. Guitarists Brent Rambler and JT Brubaker played these gorgeous melodic guitar riffs that created a sing-along melody that would go into the next track. Due to personal issues, vocalist Jake Luhrs could not play the rescheduled dates. Due to this, Michael Felker from the metalcore band Convictions came in to do vocals for the band. Michael came out swinging on the song “Empire,” a fast-paced and riff-heavy metalcore track. One thing that is in the forefront of all of August Burns Red’s songs is the drum playing from the impressive Matt Greiner, who is truly on point with every beat he makes. The song “Empire” is jampacked with all of the elements that have helped August Burns Red solidify their sound: progressive and intricate guitar and drum patterns, sing-along sections, breakdowns, guitar solos, and uplifting vocals. The band then went on to play “Internal Cannon,” which was the song that got me into August Burns Red back in the day. The song features Matt K. Heafy from Trivium on the studio re-recording, which really added another layer to the song. The incredible dynamics in this song make it apparent why it is a fan favorite. August Burns Red’s metalcore style creates the melody using the instrumentals, as about 99% of the vocals are screaming in their music. Internal Cannon also has this slow-down section that incorporates some influences from jazz and blues that really help give some serious contrast to the song. The band then went on to play “Leveler” in its entirety, then came back to play a few newer songs and even an instrumental cover of “Carol of the Bells,” since the show was near the holiday time, totaling in at a whopping 18-songs in their setlist. August Burns Red never disappoints, and I cannot wait to see and photograph them again on their tour going on now with Killswitch Engage and Light The Torch! August Burns Red is genuinely an incredible band!
SETLIST
X
Empire
Internal Cannon
Divisions
Cutting The Ties
Pangaea
Carpe Diem
40 Nights
Salt & Light
Poor Millionaire
1/16/2011
Boys Of Fall
Leveler
Drum Solo
ENCORE
15. Bloodletter
16. Defender
17. Carol of the Bells (Mykola Leontovych cover)
18. White Washed
The Leveler 10th anniversary tour was a celebration of a truly incredible album from one of the leading metalcore bands in the genre, August Burns Red. Fit For A King, ERRA, and Like Moths To Flames were the perfect bands to support August Burns Red on this tour! Make sure to see all of these fantastic bands on their upcoming tours if they come to a city near you!
A little over two years ago, Wage War dropped their third album, “Pressure,” which was one of my favorite albums that dropped that year. Earlier in 2021, the band has been preparing to follow it up with their newly-released fourth full-length – “Manic.”
“Relapse” kicks things off with riffs reminiscent of Wage War’s metalcore roots, and it brings a standout lyric early on in the record (“I take one step forward, then two steps back, till I run out of time in the hourglass”). The mix of melodic vocals in the verses and choruses with the heavier pre-choruses and the breakdown towards the end showcases a little bit of what listeners can expect from the tracks that follow. Second up is the single “Teeth,” which also displays the juxtaposition between the more melodic aspects of their sound (such as the irresistibly catchy chorus) and the heavier ones (shown through the sections surrounding those choruses). The song is an ode to a friend who stabbed you in the back, explaining that this person is “accepting apologies” but would “never give it” and asking them with brutal honesty, “You only took from me but did you ever care?”
The title track, “Manic,” is where the album gets a little bit experimental. The band incorporates elements of hip-hop and nu-metal, which immediately reminded me of music from bands like My Enemies & I and Afterlife, and these genres are blended with the aggression that the band is known for. Speaking of which, “High Horse” is up next, and it really hones in on the metalcore influences and the most aggressive parts of their sound, with monstrous riffs and furious vocals all throughout. “Circle The Drain” contains an anthemic and powerful chorus, and the lyrics deliver a crucial message. The song is all about taking accountability and wanting to do the best you can to make this world a better place. The lyric “the hurt begins with me” sums up this theme very well, showing the moment when someone “decides to be a part of the solution,” as the band said on Twitter when explaining the song’s meaning. “Godspeed” brings plenty of solid hooks from start to finish, and similar to some of the other tracks on here, it experiments a bit and mixes some glitchy effects with the harsher instrumentals. The song’s lyrics continue the conversation about cutting out toxic people in your life, as one line declares “and now you’re dead to me.”
If you’re a fan of the aforementioned heavier aspects of Wage War’s sound, then you’re in for a treat when you hear “Death Roll.” It’s easily the heaviest on the record (aside from “High Horse”), and it seemingly incorporates elements of hardcore as well. In contrast, “Slow Burn” is way more melodic, and it feels reminiscent of “Circle The Drain” and even some of the tracks from “Pressure.” The chorus on here offers some of the strongest books on the entire record, and it’s another really memorable track.
“Never Said Goodbye” is up next, initially driven by acoustic guitar, simpler percussion, and clean vocals before the much bigger choruses crank up the volume of the instrumentals. The lyrics are very clearly all about grief, and lines like “Won’t ever heal cause I’m trying to make sense of a world where you’re not in existence” and “I know you’re home now in a better place, but I’m still searching for the words to say” will easily resonate with those who are dealing with the loss of a loved one.
Second to last is “True Colors,” beginning with a combination of both screams and gritty shouted vocals that lead up to another catchy chorus with some more great hooks, and the riff-driven breakdown will have fans joining the mosh pit if the band plays the song live. “If Tomorrow Never Comes” concludes the record, and it does so very nicely by combining both the more aggressive and more melodic elements heard throughout the album, from the brutally heavy performances in the verses to the soaring vocals in the massive chorus.
“Manic” shows Wage War staying true to their roots at times, but also shows some additional experimentation, and much like “Pressure,” this record as a whole shows how the band is continuously evolving as songwriters and musicians.
The Camera Affect 
