Story Of The Year & Silverstein: CAMP SCREAMO TOUR

What’s the sound of Story Of The Year? Loud guitars, massive singalong choruses, and uplifting perseverance.

Few records helped build the post-hardcore scene as swiftly as the band’s debut, Page Avenue—one of the first of its kind to sell a million copies. “Until the Day I Die” endures as both an anthem and mission statement.

Tours with Linkin Park, My Chemical Romance, Deftones, and The Used cemented Story Of The Year’s reputation as a stunning and engaging live act. The connection between the band and audience transformed them from teenagers working in a St. Louis pizza chain into hard rock headliners.

Fans grew alongside Dan Marsala, Ryan Phillips, Josh Wills, and Adam Russell through each release: Page Avenue (2003), In the Wake of Determination (2005), The Black Swan (2008), The Constant (2010), Wolves (2017), and Tear Me to Pieces (2022).

They specialize in intense, passionate, confessional compositions that inspire and empower. Songs like “The Antidote,” “Real Life,” “Miracle,” “The Ghost of You and I,” “Anthem of Our Dying Day,” and “Take Me Back” resonate with anyone determined to triumph over adversity.

Until the day I die, indeed.

The Ontario, Canada-bred rockers have risen from their underground roots to the top of the emo and post-hardcore genre after two decades in the industry.” – Billboard

Silverstein enters their 25th year with two full-length albums set for 2025. The band that NME calls “legendary,” and Loudwire placed among the Most Prolific Rock & Metal Artists of the 21st Century, continues to innovate and inspire on forward-thinking records and at crowd-embracing live shows.

Sequestering away together in a remote desert was such a revelation for Shane Told (vocals), Paul Koehler (drums), Josh Bradford (guitar), Billy Hamilton (bass), and Paul Marc Rousseau (guitar) that they returned with their best work yet: the stunning and invigorating Antibloom and Pink Moon.

The band made Antibloom and Pink Moon at Fireside Sound, a recording studio and filming location on 35 private acres in Joshua Tree, California. The immersive desert area has offered life-affirming creative fire to iconic troubadours like Gram Parsons, Queens Of The Stone Age, and now Silverstein.

They arrived in Joshua Tree with 25 completed demos and chose their 16 favorites. Koehler suggested splitting the music into two albums and turning 2025 into a year-long celebration. This allows listeners the space to absorb and connect with the songs, like “Mercy Mercy” (a vicious takedown of sadomasochistic doom-scrolling), the anxiety-examining “Don’t Let Me Get Too Low,” and “Cherry Coke” (which began with a melody from Bradford) from Antibloom, before digging into Pink Moon.

Rousseau and Told composed the majority of the music for the diverse pair of records. Cassadee Pope and Dayseeker’s Rory Rodriguez feature on “Autopilot” and “Drain the Blood,” respectively, both found on Pink Moon.

Now a Las Vegas, Nevada resident, Told expanded his personal process beyond his bedroom, traveling to Los Angeles for a series of writing trips with outside collaborators for a fresh perspective. Those included Sam Guaiana, Austin Coupe, and Josh Landry (who contributed to Antibloom’s “Skin & Bones”), as well as John Lundin, Lucky West, Kevin Thrasher, and Curtis Peoples.

“When you’ve done 11 albums, it can become harder to write without repeating yourself,” Told says. “This was a cool way to shake it up. Many of these writers are younger than me; some grew up on our band. I made new friends and developed new ideas without getting stuck on songs. It kicked my ass a little bit and gave me some new confidence, having that feedback and exchange about my songs.”

Guaiana, a Toronto native now based in Los Angeles who previously worked on A Beautiful Place to Drown and Misery Made Me, produced, engineered, and mixed the new songs.

As the group explained in a collective statement, the Antibloom title reflects the desert’s harsh nature, while Pink Moon conjures its simultaneous beauty. Toward the end of the recording process, the band briefly stepped outside together to experience one such pink moon.

“Five Canadians went to Joshua Tree for five weeks and made a cool double album greatly inspired by a magical place,” the drummer says. “It was the first time we’d ventured away in years, and it opened up something special.

Feeling Not Found, the third full-length record from Washington, D.C. duo Origami Angel, is the one—the rare, undeniable piece of work that defines a sound, a moment, a subculture, and a band’s position in the continuum of music. Vocalist/guitarist Ryland Heagy and drummer Pat Doherty have been building toward this record since forming the band in 2016, quickly growing into one of the most exciting and volatile acts in the American punk and emo communities.

A 14-track epic recorded with producer Will Yip at Studio 4 Recording, Feeling Not Found revolves around the deeply modern experience teased in its title: an emotional and spiritual 404 error—a sensation of cellular-level malfunction and data corruption, of being lost in an oblivion of digital information, and the desperate struggle to reconnect with what it means to feel human and whole.

“I was looking at America as this digital silicon hellscape,” says Heagy. “What came to me was, in this amalgamation, this sea of randomness, I felt not found. It speaks to where we were as a band and where I was as a person. For about three years until we finished this album, I was in a very lost place in my life, and everything felt random and unstable.”

Heagy and Doherty explore and explode that limbo on a record that demonstrates Origami Angel at the top of their class, cementing their status as a boundary-pushing, breakneck, cross-genre phenomenon. The album is choreographed like a roller coaster, moving seamlessly between sunny easycore, crushing metalcore riffing, jazzy indie rock, misty emo, electronic elements, and more. It sounds exactly like what it is: the unfiltered output of Heagy and Doherty’s shared creative instincts—refined yet unrestrained, unhinged yet deeply intentional.

Much of the material for Feeling Not Found was developed over several years, spanning the eras of their previous LPs, Somewhere City (2019) and Gami Gang (2021). Those releases, along with their intense and widely talked-about live shows, established Origami Angel as a unique force blending ’90s math and emo with early 2000s pop-punk and easycore into something urgent and contemporary.

However, the band’s rise in visibility collided with the isolation of the pandemic, forcing a shift to online-only existence that deeply affected Heagy. “Growing up a DIY kid, it was all about community,” he says. “Then suddenly we had it, and then we didn’t—but it kept growing into something I couldn’t physically interact with. It triggered my anxieties and really impacted my mental health.”

When it came time to bring the record to life, they partnered with Will Yip at his Conshohocken studio. The collaboration carried emotional weight: Heagy’s cousin, who had recorded at Studio 4 in 2010, passed away in January 2023. Yip was among the first to reach out. Though Heagy initially shut down, Yip’s compassion helped him move forward.

“The understanding we had about what I was going through was really important,” Heagy says.

Opening track “Lost Signal” reflects that loss, inspired by a moment of static at his cousin’s funeral that became unexpectedly affirming. Lead single “Dirty Mirror Selfie” follows with a furious, pogo-ready energy and a declaration of self-reclamation. “Where Blue Light Blooms” showcases expansive songwriting and dynamic arrangement, while “Wretched Trajectory” delivers an energetic, major-key take on alienation. “Sixth Cents (Get It?)” shifts rapidly between styles, and “Secondgradefoofight” moves from delicate to explosive with characteristic unpredictability.

The album closes with the title track “Feeling Not Found,” where frantic instrumentation meets a calm, resolute vocal performance. While the struggles explored throughout the record remain unresolved, the band arrives at a sense of understanding—enough to keep moving forward.

Heagy’s closing sentiment captures that evolution:
“And I may not feel found, but I’m not as lost as I used to be. And it may not be right, but it’s not as wrong as it usually seems. I can be as here and as real as I want, and you’ll never take that away. This out-of-date software’s here to stay.”

Feeling Not Found is out September 27 on Counter Intuitive Records.