Denver’s extreme metal titans, Primitive Man, have long been the standard-bearers for unrelenting sonic weight. On their fourth full-length, Observance, the trio embark on a thrilling new journey of evolution. Set for release on October 31 via Relapse Records, the album finds vocalist and guitarist Ethan Lee McCarthy, drummer Joe Linden, and bassist Jon Campos refining their apocalyptic sound with surprising nuance. McCarthy describes the process as “getting trippy, but with focus,” a philosophy that guided the band to their most dynamic and layered work to date.
Focused Experimentation and a Broader Palette
Observance showcases a significant evolution in the band’s sound, weaving psychedelic textures and electronic noise directly into the fabric of its crushing compositions. For McCarthy, this was an exciting shift. “There’s a lot more psychedelic elements for this one,” he says. “We use a lot more electronic equipment and, as a guitar player, there are more lead parts.” Moreover, this new approach allowed him to explore melodic and textural realms while Campos anchored the songs with a formidable low end. The result is what McCarthy calls their “most solemn sounding release,” a record that juxtaposes grandeur with gloom.
The interaction between instruments sometimes evokes a distorted, doom-inspired version of the Cure—elongated, melancholic, and rich with dissonance. Indeed, McCarthy confirms the influence was intentional, even a point of amusement during creation. “There are parts on here where we’re like, it sounds like the Cure, and then we would laugh about it,” he admits. The broader sonic palette, which also includes The Edge as a reference for the delay-drenched guitar work, creates an immersive, almost trance-like quality that persists even at its most intense.
A Collaborative Genesis
A fundamental shift in the band’s creative process underpins this new direction. Previously, earlier material often built on McCarthy’s pre-formed skeletons, but the band created Observance primarily through collaborative jamming. “A lot of it came from jamming,” McCarthy explains. “Someone would come up with a riff, bring it in, and we’d jam on it together, making changes collectively as a group. We were really working together to craft these songs,” inviting the audience into their creative process.
This collective spirit extended to the studio with producer Andy Nelson at Chicago’s Bricktop Recording. Notably, Nelson became an essential creative partner, helping to refine and fully incorporate the band’s embryonic electronic ideas into the album’s powerful soundscape. McCarthy cites it as “the best recording session this band has probably ever had,” a testament to a shared vision and a trusted environment that encouraged risk-taking.
A Conscious Shift from Nihilism
Lyrically, Observance marks a conscious move away from pure nihilism. Interestingly, McCarthy’s focus has shifted from painting pictures of inescapable darkness to addressing negative situations with a desire to overcome them. “I’m addressing them, wanting to get out of them, expressing that they’re bad for me and wanting to move on from them,” he says. He attributes this change to age and a deliberate decision to fight despair. “It’s essential not just to lie down and die.”
This sentiment culminates in what McCarthy describes as the band’s “most positive record to date,” a designation that might surprise longtime listeners. He crystallizes the shift in his own words: “I don’t want to give up all hope, whereas, you know, in the past, I would have a much more cynical view of stuff. I’m trying to take less of a nihilistic view.” This personal growth reflects a hardened resolve to find a glimmer of light in the bleakest of landscapes, offering a sense of hope to the audience.
Lyrical Inspiration and Socio-Political Critique
McCarthy’s thematic focus extends beyond the personal, further targeting systemic failures and what he terms “techno-feudalism”—the unchecked power of tech oligarchs and the corrosive influence of AI and social media. “It’s now clear that those with the most money due to technology are calling many of the shots in the world,” he states. He is particularly scornful of AI, calling it “bullshit” and noting that, moreover, it is “poisoning people’s minds on the Internet.”
Tongo Eisen-Martin’s poetry collection Blood on the Fog heavily inspired his lyrical approach, and McCarthy carried the book with him for two years. Drawing from its revolutionary zeal and sharp social critique, he weaves a tapestry of disdain for systemic failure, though he offers no easy answers. “I don’t offer solutions because I am not a political scientist,” he notes. “I’m just a man who plays in a band. I’m speaking of how those things are making me feel.”
Holistic Art and a Powerful Conclusion
The album’s visual component, also created by McCarthy, was developed in tandem with the music. “I didn’t finish the artwork until we finished the album,” he says, emphasizing his need to fully grasp the album’s themes before completing the visuals. The cover, which depicts a figure resting on a throne, communicates the album’s central critique: “the true king is death.” Consequently, McCarthy elaborates, “A significant part of our problem is the constant power struggles and attempts to consolidate power. And that the only real winner at the end is death.”
By embracing collaboration, experimentation, and a renewed sense of purpose, Primitive Man have created their most powerful and resonant work yet. Observance is an intense, immersive, and ultimately cathartic experience that proves even in the most oppressive soundscapes, the will to hope can be the most radical statement of all.
Band photo by Vanessa Valadez
Live photo by J. Donovan Malley
