Dead Poet Society

FISSION

When purposeful production collides with the right energy in a song, the end result is raw power—enough to split that creative atom into equally powerful entities. FISSION.

Following their 2021 album, -!-, Dead Poet Society’s latest full-length release brings punchy riffs and sharp lyricism into the fold, building their altitude and fine-tuning their dynamics.

The album’s aggressive and gargantuan sound is bolstered by the thick, overdriven guitars and tasteful, driving bass lines fans have come to expect from DPS, particularly potent in songs like “5:29:45” and “I hope you hate me.” The band’s signature riffs and chord progressions trudge along with heavy grooves and bright hits of percussion on songs like “Hard to be god” or “HURT,” picking up speed and crashing into the listener like a freight train.

And yet, the band balances out the saturated energy on “Uto” with a melodic vocal performance by singer Jack Underkofler. A breath of fresh air, the softer, more melodic moments in the record contrast the tension that resides at the forefront. The lyricism, particularly in a ballad like “Tipping Point,” lays Underkofler’s soul bare in the trenches, calling for listeners to embrace the depth of what it means to feel something.

Even the seemingly less memorable moments on the record, like “KOET,” deliver in context. Dead Poet Society makes ample use of negative space in tracks like “81 Tonnes” and “Black and Gold,” and it’s clear a lot of attention went into post-production, which picks up the slack on some of the more rudimentary songs.

With attitude and instrumentals reminiscent of bands like Queens of the Stone Age, Young the Giant, or Royal Blood B-sides, DPS is certainly forging a name for themselves that no one can deny. If the band’s goal was to “leave them with the truth,” as Underkofler stated upon the record’s release, it’s safe to say FISSION is a respectable and shining notch in their belt.