‘To Rid Myself of Truth’ is definitely a step up for Signs of the Swarm, even if it’s not perfect. After years of trying to figure out what they want to sound like, they’ve made an album that feels more confident and cohesive.
Words by Felix Bartlett | August 19, 2025
To get a sense of how much Signs of the Swarm have changed over the years, you just need to listen to their early stuff versus what they’re doing now. The Pittsburgh band started out making straightforward, punishing deathcore that was all about hitting you as hard as possible. These days, they’re trying to be more sophisticated while keeping that brutal edge. With ‘To Rid Myself of Truth,’ their sixth album, they might have finally figured out how to balance both sides.
The band’s journey hasn’t been easy. After a handful of lineup changes and experimenting with different styles, there have been plenty of times that I’ve questioned whether Signs of the Swarm would ever find their groove. Their last album, ‘Amongst the Low & Empty,’ split opinions with its messy production and discombobulated sound. However, this time, with David Simonich on vocals, Carl Schulz on guitar, Michael Cassese on bass, and Bobby Crow on drums, they’ve crafted something that actually hangs together.
Sonically, ‘To Rid Myself of Truth’ finds Signs of the Swarm striking a stronger balance between their signature deathcore brutality and their own unique personality. The production is far cleaner than on their last album, this time, you can actually hear what each member is doing. Crow’s drumming remains the band’s greatest asset; having played multiple instruments on previous releases, he brings a crafted sense of cohesion that makes everything feel more connected this time around.
The album opens with its crushing title track, immediately establishing that this isn’t just another paint-by-numbers deathcore release. “HELLMUSTFEARME” follows with memorable guitar work beneath the brutality, while “Natural Selection” captures the darkness of Signs Of The Swarm at their peak. The standout “Iron Sacrament” benefits from Phil Bozeman’s guest vocals, creating one of the album’s most cohesive moments.
Where the album works best is when it focuses on contrasts. “Clouded Retinas” pairs Simonich with Lorna Shore‘s Will Ramos for a vocal experience that actually serves the song rather than just showing off while building menacing atmosphere before delivering crushing payoffs. Following that the next guest vocal track “Fear & Judgment” starts with a speech sample before delivering a crushing riff accompanied by Jack Murray and Johnny Crowder joining in vocal duties with Simonich, again feeling cohesive and fitting within the album as opposed to a shoehorn for the sake of it.
The album’s biggest stumble comes with “Forcing to Forget,” a clean vocal experiment that feels forced rather than natural. While Signs of the Swarm have used clean vocals effectively before, this attempt feels like it’s lacking in the authenticity of their earlier work. It’s a reminder that not every modern deathcore trend needs to be embraced.
Simonich’s vocal performance will no doubt divide opinions when this album releases. While he undeniably has incredible range and power, his approach sometimes feels like he’s chasing viral moments rather than serving the songs. The constant song-title growling and over-the-top delivery can become exhausting, even if it’s technically impressive.
What works best here is when the band lets their songwriting speak for itself. The non-single tracks often shine brightest, suggesting Signs of the Swarm are at their best when not trying to create obvious hooks for streaming playlists. Schulz shows promise as the sole guitarist, though the layered approach sometimes makes you wonder how it’ll translate live.
Overall ‘To Rid Myself of Truth’ represents a step forward for Signs of the Swarm, even if it’s not a giant leap. After years of searching for their sound, they’ve created an album that feels more confident and cohesive than their recent efforts. While it may not revolutionise deathcore, it proves Signs of the Swarm still have plenty to offer in a crowded scene. For a genre often criticised for being stale, that’s no small achievement.
Verdict: 💀💀💀
For fans of: Thy Art Is Murder, Fit For An Autopsy, Whitechapel
To Rid Myself Of Truth drops 22 August via Century Media.
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