SharpTone Records
Release: 13 February 2026
Full disclosure from the outset. I have never really been able to get into bands that alternate between aggressive intent and emotional vulnerability as easy as changing the channel on the television set. Call me old school, or call me emotionally lacking but I was brought up under the pretext that if something pissed you off enough to snap that was pretty much it. Let’s go to smackdown town.
Sure, situations change and perceptions lighten in most instances but once that switch has been flicked the chances of a clean and chirpy interlude are fuck all to none.
Which is probably the main reason such abrasive fluctions in music have never sat well with me. Plus the age old macho scenario whereby I have never actually sat by myself away from judgement and expectation to actually give it a chance. That said, I am either about to completely reaffirm existing beliefs after listening to Story Of The Year’s new album A.R.S.O.N. or I am going to gain a new found respect and appreciation for the genre. Not that bands such as Story Of The Year actually give a fuck about past prejudices, but my Mother always taught me to give things a chance before passing firm judgement so out of respect to her here we are.
Opening track Gasoline (All Rage Still Only Numb) is also said to be one of SOTY‘s heaviest songs, so things are already looking up as a softer piece of sonic ambience is soon ruptured as drummer/vocalist Dan Marsala takes aim directly at people like my good self and comes out swinging. It’s already an interesting mix between samples and emotional sensationalism but I’m not hating it.
Thus far I have noticed a firm correlation between gasoline and anger in this track so every time I hear that trigger word I know we are in for some beautiful harshness and the interaction/violation of harsh and cleans doesn’t sound too out of place on the first track.
But those damn samples…
Disconnected is next and starts with a tempered guitar run that is again met with a dose of unhealthy contempt from Marsala but he soon gets over whatever has aired his grievance and the cleans take over to seemingly set a bit of a backstory where maybe once the world was a beautiful place.
This has flashes of Beartooth sonic wise, and I like those guys so maybe there will be a connection. That’s probably way too harsh because this is a quite catchy track, with the thunderous drum rolls courtesy of Marsala adding a toughness to the bottom end that intrudes just often enough to entice some tasty breakdowns. There’s even an electronic breakdown which is not too shabby at all.
I might be wrong but it sounds like Marsala is doing much of the alternating vocal styles himself which adds instant respect. I’m not sure how to best explain it but when the contrast comes from the fractured state of one’s own self then the divide between light and shade suddenly becomes less divisive and more personal. But if I’m wrong then I now look like a dick but I am nothing if not honest. Even about my own misgivings.
See Through fires up amid a dense sonic wall that quickly parts to usher in a shuffling drum fill that allows Marsala to throw a barrage of cleans into the mix that settle in nicely with the relative calmness offered up by the rhythm section. Story Of The Year have obviously had plenty of practice with blending styles and genres so as to not sound disinterested and even as the sudden shift into a peaceful resolution threatens to dominate proceedings there isn’t much else to do but allow yourself to be guided by the uncertainty and simply enjoy the ride.
Fall Away starts with a mass of distortion and feedback before ripping the scab straight off to reveal the abrasiveness beneath. There’s a small dose of rap infused spoken verse to keep things interesting before the contrasting vocals resume their storytelling. And it suddenly dawns on me that is exactly what is going on here. The haphazard flow between harsh and clean vocals isn’t there just to make us feel all warm and fuzzy. They are actually two opposing sides of the sonic coin that fall whichever way the narrative requires. Interesting…
3am is usually when things start to get interesting and this track is no exception with a shuffle of guitars giving way to a pop/punk style opening salvo that soons ventures into more hardcore territory before the fading light commands a little more respect and the voices in our heads start to jumble even more until none of it matters. Not the vocal styles. Not the chirpiness of the chorus. And certainly not the schizophrenic side of the bands personality that wants to keep partying.
All that matters is none of us know what the fuck we want or need at 3am in the morning so instead Story Of The Year invite us to join them on their quest for a good time and for the first time on the album I find myself giving in to the band and saying fuck it. If it feels good then roll with it.
Into The Dark has an almost dreamy intro before the guitars kick in and turn the dream into a nightmare of sonic proportions and the game resumes. “It’s all in my head” Marsala bemoans. No shit mate. Now how do we get that catchiness to get the fuck out of there?
A tough as fuck breakdown presents the answer and the lasting effect of that unexpected violent outburst almost camouflages the following bout of cleans that border on wishy washy but somehow don’t actually feel that wrong. Marsala has an inate ability to draw you in every time his voice takes on even a hint of malevolence, carrying you through the moments of serenity safe in the knowledge shit can get messy at any time. And quickly.
I should actually take pause here to verbalise the fact that I am actually quite enjoying A.R.S.O.N. thus far. Call it a guilty pleasure if you will but I am just going to call it for what it is. Damn fine music with an emotional depth that likely would not be possible without said moments of wholesome cleansing.
What better to follow Into The Dark than My Religion, and already this track has reaffirmed my apathy towards the Church. This is a meat and potatoes heartjerker – much like religion – and I have so little in common with both that I shall skip forward just so I don’t blaspheme.
The trend continues as Halos bursts from the speaker but the Metal Gods have seemingly had much more of a say here as a rapid drum fill elevates procedings and Marsala starts as though someone has kicked him violently in the shins. I.e he isn’t very happy. Again, this is kind of meat and potatoes stuff but the difference here is the meat is Wagyu Beef and the potatoes tougher than any Irishman could ever be.
This is a rollicking track with enough underlying animosity to suggest the Halo has well and truly slipped and tightened considerably around SOTY‘s neck. Things veer momentarily into softer territory but the first real guitar solo I can recall on the album soon stamps that out as the rough exterior is once more pushed to the fore and things are so much better for it.
I’m not sure if Good For Me Feel So Bad is a pisstake or a statement, but the swirling haze of guitar that introduces the song suggests it isn’t so much of a peace offering as a token of gratitude. Shuffling drums keep things in check and this one has stadium rock lighter moments all over it. There’s a depth and substance to the delivery that screams sorrow and loss but this is offset by a conflicting subplot of contempt that again offers two opposing viewpoints sonically. I think I am actually starting to understand shit here!
Better Than High – Main starts with a wash of acoustic guitars, giving off a calming effect that is accentuated by the almost soothing vocals that sit somewhere between longing and deceit. Maybe not, but such thoughts allow me to look forward into this song with hope that things might turn sour for a bit and the tides of malicious intent may once more shower us in apathy.
No such luck as the song maintains the same trajectory pretty much throughout, but who am I kidding? As soon as the acoustic guitars kicked in this song was never going to go anywhere else. Which, as it turns out, isn’t such a bad place to be.
Album closer I Don’t Wanna Feel Like This Any More gives off enough shades of despair from the opening salvo that I am starting to think SOTY and myself might part on less than favourable terms, but things do toughen up more than enough and what could have been a token love song is elevated enough to paint a bleaker picture of hope and loss that offers enough in the way of ambiguity to leave people like myself feeling that maybe things don’t turn out as nicely as they appear.
And that’s it. We are done. How do I feel? Dirty? Violated? Conflicted?
All of the above, actually, but I also have a new found respect and appreciation for this genre and definately for Story Of The Year. Mum was right. Sometimes you do have to look outside of the musical box we subconsciously build for ourselves…
