Signs Of The Swarm – To Rid Myself Of Truth (Album Review)

‍Signs of the Swarm – To Rid Myself of Truth
Released: August 22, 2025

Lineup

David Simonich // Vocals
Carl Schulz // Guitars
Michael Cassese // Bass
Bobby Crow // Drums

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Pittsburgh act Signs of The Swarm were the first deathcore band I saw live, and one of the key bands that brought me into the genre. Catching them supporting Within Destruction in a 200-cap room in Albury NSW feels like a false memory, as I sit here reviewing their latest work To Rid Myself Of Truth.

The follow up to 2023’s Amongst The Low and Empty kicks off with this LP’s title track, and it’s fucking angry. David Simonich’s monstrous growls are tinged with venom in tandem with the fury behind the production and thunderous drums. Carl Schulz’s riffs ensure the choruses are catchy right up to the first booming breakdown of the album. David’s interplay of vocal acrobatics throughout drew me right in; the snarling and animalistic violence on display is insane.

‘HELLMUSTFEARME’ has an exciting and pronounced tempo that’s drawn in focus early on by drummer Bobby Crow after the blast-beat filled intro. Catchy guitars permeate throughout as the substance over style mindset of writing becomes more prevalent. Here’s how Signs of the Swarm do things, and they’re doing it in a rage.

The stank face hit when ‘Natural Selection’ blared into my ears. Rapid distortions yank you in as Carl’s groovy riffs swim between more sonic booms and David’s gutturals. I love the impact of the breakdown; it begins with isolated vocals before simple smashes of instruments. Fucking tough is the best way to describe it.

In the theme of the album and expressing truth, David gets vulnerable as he opens about his struggles as a recovering addict in ‘Scars Upon Scars’. Carl’s backing screams lend intense layering to the gargles of David. He takes a breath before closing out the track by telling us “it feels like I’m dying, I can’t shake this poison” in one of the more emotive lyrical sections of the album.

‘Chariot’ continues the onslaught, playfully distorting vocals and having fun with effects and stereo channels, before we get into a couple of feature filled tracks. And oh boy are we in for a fucking treat.

‘Clouded Retinas’ is a tale of David’s struggles with Stargardt disease, a degenerative macular eye disorder. Fun fact, this is why you will never see green lights at a Signs of the Swarm show. This one is a groovy song to headbang to, further proving their style over substance approach to writing. It feels like the curtains audibly part, and some quieter screams sound off in the distance. Something is coming, and that something is Will Ramos of Lorna Shore. His brief appearance allows him to lend his animalistic vocal style to complete the nuts breakdown that closes out this track.

‘Iron Sacrament’ is pure brutality, with blast beats and groove abound. The second feature vocalist is none other than the king of vocal acrobatics, Phil Bozeman of Whitechapel. Jumping on board for the final breakdown, he ensures this climax feels like you’re getting beaten with a sledgehammer.

‘Forcing To Forget’ creates an atmosphere with an effective interplay of clean vocals and eerie melodies. The use of atmospheric breaks serves to provide a dynamic shifts which feel like the calm before the storm. The vocalisations throughout the latter half mesh well with traditional deathcore instrumentals to create a banger that stands out on this LP.

I had to search the meaning of the title for this next track, and it turns out ‘Sarkazein’ means “tear flesh like a dog” or “to bite the lips in rage”. That’s a metal as fuck definition and understandably suits the song as David savages the ears of the listener in tandem with serrated instrumentals. Booming melodies lead into a shut down of the song, before the viciousness resumes. The band seems to be caged, preparing themselves for an explosion which comes after a digitised voice announces “game over”. The coolest breakdown yet takes shape, multi-faceted with digitally edged production and intense power.

Our final two features of To Rid Myself of Truth work in duality on ‘Fear & Judgement’. This offering pummels you with aggressive groove and brings Jack Murray of 156/Silence and Johnny Crowder of Prison onboard. This track is fierce and dynamic, and another simple yet punishing breakdown closes out my personal favourite of the album.

'Creator' takes all of the aggression that Signs of the Swarm have created and gives you one last hook and uppercut combo. Dynamic atmospheric breaks encompass the song as David taps into his entire bag of tricks vocally; I love some good goblin screams, and this is David at his best. The funky riffs of Michael Cassese on bass lead into an epic guitar solo by Carl and the final notes of the LP fade out.

Signs of the Swarm have taken what’s hard to say out loud and put it in the world via a sonically overpowering soundscape in the form of To Rid Myself of Truth. Expressing your truth to the world is terrifying, so the band created a force more intimidating and with more presence than the fear itself. The extra studio time compared to Amongst The Low & Empty, has paid dividends for Signs of The Swarm as the burden of truth is lifted off their shoulders through heavy music and artistic expression. This album is groovy and it’s angry, and it’s a release you need to listen to.

Rating: 9/10
To Rid Myself of Truth is out Friday, August 22 via Century Media Records. Pre-order here.
Review by Tyler Lubke @huntsman421

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