The Devil Wears Prada - Flowers (Album Review)

The Devil Wears Prada – Flowers
‍Released: November 14, 2025

Lineup

Mike Hranica // Vocals
Jeremy DePoyster // Vocals, Guitar
Kyle Sipress // Guitar
Mason Nagy // Bass
Jonathan Gering // Keys
Giuseppe Capolupo // Drums 

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Like flowers blooming from steel, vines twisting around gears and venturing over bolts, The Devil Wears Prada presents an aesthetically beautiful project cast in iron. Flowers is the abandoned armour decaying in a field of poppies – strong and stubborn, yet delicate and flourishing. In a tenacious blend of genres, the metalcore outfit have delivered their most introspective project yet that flows with a stylistic and thematic cohesion. It’s an enthralling listen. 

An eerie and fuzzy voicemail begins the album with an intriguing start in ‘That Same Place’. The voice is followed by a delicate piano melody that weaves through wistfully slow violins. This classical introduction ensures The Devil Wears Prada are embarking on a dramatic endeavour. The record to follow will be shrouded in theatrics and emotion. While Flowers is not confirmed as a concept album, I perceive the cohesion as story-like, moody instrumentals peeking through like swirling vines prepared to wrap you up in a narrative.

These vines are met with a thwapping machete as ‘Where the Flowers Never Grow’ ploughs through with a heavy swing. Jonathan Gering’s victorious synth wraps the track in an upbeat, pop-like rhythm, maintaining its heaviness in Giuseppe Capolupo’s prominent drums and Jeremy DePoyster’s raspy vocals. Despite the tracks occasional heaviness and surprise breakdowns, it is one of the most pop-influenced numbers on the record. Casting aside my qualms on metalcore bands turning to more palatable genres, the song is done well. The breakdowns and Mike Heranica’s screams meld effortlessly with the upbeat rhythm and synth – blooming into a colourful bouquet wrapped in barbed wire. It’s an exciting and intriguing start to the record.

The futuristic synth weaves through the record and into ‘Everybody Knows’, sounding out through this alt-rock offering. While TDWP are renowned for experimenting with genre, Flowers provides perhaps the most variety. In this track specifically, the band lets go of heavy screams and blast beats yet somehow remains true to their identity, creating a natural cohesion with the songs that follow. It’s this balance between diversity and flow that keeps the listener engaged and builds anticipation for what’s next.

That sense of cohesion carries into the album’s singles, with ‘So Low’ standing out as a particularly inspired choice. The track showcases a shoutable blend of catchiness, heavy themes, and pounding angst. A twinkling synth tiptoes in before meeting springy drums and Mason Nagy’s grooving bass, together establishing a deep, sombre tone. This mood marries the theme of the number well as the band addresses the always important topic of depression. It can be difficult to garner empathy from audiences when discussing issues relating to fame, but TDWP offers a thought-provoking outlook. Despite the monumental success the band have achieved in the genre, these achievements can feel hollow against personal struggle. We built this fire, now it’s up in smoke references the years of work appearing worthless and obsolete when faced with depression. ‘So Low’ is a cautionary tale for aspiring musicians, happiness is success, but success is not always happiness.

The poignant lyricism doesn’t stop there, with next track, ‘For You’ providing a yearning and theatrical anthem for hopeless romantics. It is a goosebump-inducing song. I’ll admit now, the line: 'you can bury me and I’ll leave flowers for you at my tomb / I’ll do it for you,' caused me to pause the music and sit in silence for a solid thirty seconds. With Jonathan’s descending keys and Chris Rubey’s stinging guitar melodies, the track ensues waves of angst before Mike’s vocals cut through with a heart-piercing sharpness. ‘For You’ is an exaggerated interpretation of unrequited love, a sonic exploration of the rollercoaster stages of greif.

Although, we can’t wallow in heartbreak for too long before being thrown into the thrash-influenced chaos of ‘All Out’. The distorted, abrasive riffage on this one bursts through like it has been waited on for the last five songs. The heaviness certainly scratches an anticipating itch and confirms between the whimsical synth on catchy melodies, TDWP can still provide chugging gym bangers. 

The keys return with a vengeance as ‘Ritual’ fades in. It’s in this number the powerful riffage and pop danceability converge. Here, both sounds are fostered before sprouting into a captivating garden. In ‘Ritual’, TDWP laughs and says: 'don’t worry, we can do both'.

It would be unjust to write this review without touching on the passing of founding drummer, Daniel Williams, specifically in tandem with ‘When You’re Gone’. I’m unsure what this track is about specifically, but the chilling riffs and pained vocals bring forth themes of grief and confusion. It is possible the number intends to memorialise Daniel’s presence and address the grief felt by the band, industry and fans. It does this brilliantly, providing a moment of remembrance all listeners can share. 

To break this heavy topic, ‘The Sky Behind The Rain’ bestows a brief intermission. The voice from the beginning returns, now alongside synth and rhythmic drums. It is a moment of rest and rebirth – when the rain stops and the scent of thriving plants sweeps over the land.

Emerging through the anticipating pause, ‘The Silence’ follows with a heavy, synth-pop offering. The rhythmic eeriness of this one reminds of an underground nightclub. Flashing red strobes and sticky floors fade into the background as the bass hypnotises you in an atmospheric allure. The lyric, 'I don’t wanna be found,' only adds to the image – evoking the notion of finding comfort in uncomfortable places. 

This hazy, self-inflicted state is broken in ‘Eyes’ with its’s thick buildup and fast-paced chorus. Here, you break out of the club and the hypnotising rhythms, you remember where you are and are filled with a seething anger and determination to be better. 

But the road to recovery is never linear. ‘Cure Me’ captures this tension through its yearning to return to harmful comforts. The track ebbs and flows, swelling into a soaring chorus before settling again into gentle keys and soft vocals. This alt-rock addition feels like the moment before a breakthrough, the struggle that precedes healing.

From that frustration and self-doubt blooms acceptance in ‘Wave’. Unlike the former numbers, this song is delicate and kind, a fresh breath of clarity. Soft guitar lines, faint piano, and fluid violins intertwine in a flurry of recognition and gratitude. The lyrics linger on the idea of embracing discomfort. Pain may always exist, but comfort and peace are equally deserved. It’s a fitting resolution—ride the wave, but don’t lose yourself in the motion.

The number would have been a predictable closer, until ‘My Paradise’ appears with an unexpected trap-like beat. The chorus rises above this rhythm with triumphant riffs and arising keys that meld with the grating vocals to evoke feelings of self-love, passion, and true success. It’s a preferable closer in my opinion, ending the album on a high. 

Through a captivating combination of metalcore, thrash, pop and trap, The Devil Wears Prada have delivered their most ruminative endeavour yet. Flowers is raw, honest and insightful – providing a window into the trying life of fame while remaining relatable. Like poppies that litter battlefields, dandelions that shoot through concrete and frangipanis that bend with wind – there is beauty in struggle. Flowers proves that.

Rating: 8.5/10
‍Flowers is out November 14th via Solid State Records. Pre-save/order it here!
Review by Grace Cameron @gracicxo