Richmond’s Private Hell never shies away from the heavy themes that define their metallic hardcore roots, but their latest 7” Flexi, Wake Up Screaming, takes a more primal, direct approach.
Following last year’s Days of Wrath, a release centered around loss and time slipping away, Wake Up Screaming distills those themes down into a brutal three-track experience.
Two original tracks, “Wake Up Screaming” and “Dead Inside,” reflect on the fight to hold on to hope in a world that feels increasingly hollowed out. Add a cover of Joy Division’s “Warsaw,” and you’ve got a package that delivers both aggression and contemplation in equal measure.
As they shift from a four-piece to a tighter three-piece lineup, the band’s sound has evolved to match their new dynamic.
Guitarist and vocalist Mikey Kent mentioned in our conversation that the lineup change stripped down their approach, forcing each member to step up and make every moment count. The thrash metal influences have been dialed back, and instead, there’s a raw, intense focus on riffs and rhythm. It’s a move that echoes the band’s admiration for groups like Celtic Frost and Amebix, where simplicity amplifies power.
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Lyrically, the EP dives deep. “Wake Up Screaming” grapples with trying to hold on to humanity’s goodness in a world that feels increasingly hostile. On the flip side, “Dead Inside” channels the mental strain of labor under capitalism, the disillusionment that comes with realizing the roles we’re forced into. There’s no sugarcoating here—Private Hell holds a mirror up to the bleakness, while their sonic ferocity drives the point home.
And then there’s Joy Division. Covering “Warsaw” isn’t just a nostalgic nod. For Kent, it’s a song that’s been close to his heart since high school. The desperation and atmosphere of Joy Division’s music resonate deeply, and Private Hell’s rendition brings that desperation into a heavier, more brutal soundscape. It’s a fitting tribute that highlights the band’s influences while marking their own territory.
Our full interview dives deeper into the band’s journey over the past year, their creative process, and what’s next for them.
Hey guys, it’s been about a year since we last caught up. Now, you’re coming back with a powerful punch—true, it’s only three tracks, but ‘Wake Up Screaming’ sounds massive. To kick things off, how’s this past year been for you?
2024 has been a good year for us. Due to some life changes, we weren’t able to do as much touring this year, but we got to do some great regional weekenders. We also got the chance to play with some cool bigger gigs with bands we really admire, which were really inspiring and fun. This year has been a big development year for us, with some changes in our lineup and general sound. I think we have become such a tighter and better band over the course of this year.
Mikey, you became a father last year! I’ve got two daughters myself—7 and almost 11—and it’s a wild ride, constantly changing. How are you adjusting to life as a new dad, balancing everything?
I love being a Dad, but there is definitely a pretty big learning curve I’ve found to time management and balancing prioritization. It takes a lot of looking in the mirror and reflecting on what is most important to me and what I want to spend my time doing. This usually ends up being that the vast majority of my free time goes to Private Hell, and pretty much the rest of my time is either being with my family unit or working.
I will say that having a kid has really made me reflect a lot on why punk and hardcore mean so much to me even still at this age, and it really has made me aware of how important being creative and having an artistic outlet is essential for my mental wellbeing.
Ok, so back to this new release, last year you mentioned that Days of Wrath seems to encompass a range of emotions, predominantly reflections on loss. What’s the lyrical content of the new offering?
Since its just two new songs on this release, there isn’t as much of an over arching theme. Wake Up Screaming is about the experience of desperately trying to hold onto hope and the goodness that humanity is capable of, while also still being fully aware of just how terrible the world can be. The b-side Dead Inside is about labor, the mental toll of capitalism, and feeling totally disillusioned with the roles that are forced upon us that we accept out of pure necessity.
Where did the idea to cover ‘Warsaw’ by JOY DIVISION come from? We’d love to hear your thoughts on it. What place does JOY DIVISION hold in your heart?
Warsaw is a song I’ve wanted to cover in a band since I was a teenager. When Private Hell first started and we needed to fill out a setlist, I suggested this song, and everyone in the band was into the idea, and honestly that was one of the early signs that I could tell that this would be a really fun band for me, where there is less debates and just an excitement to play.
We played it a lot in our first grip of shows, and when we started playing as a 3 piece, we decided to re introduce it to the setlist and figured it would make sense to record it for posterity. I think it sounds really cool with the sort of chunky Swedish Death Metal influenced guitar sound that we use.
Joy Division is a band I first discovered in high school and they have always held a really special place for me. The desperation and atmosphere of their music is so special, and almost none of the bands that have imitated it have come even remotely close to touching upon what made them so great. Even despite all of the posthumous terrible merchandise they have had over the last decade or so, they are still one of most important bands of all time for me.
You recorded this one with Sam Dyerly (who’s worked with CANDY and MUTUALLY ASSURED DESTRUCTION), self-releasing on Private Hell Recordings. Did you try any new recording techniques this time around? Give us a little sneak peek into the process. What little touches can you share, especially now that you’re working as a three-piece? How has that lineup change impacted the band dynamic and the recording process?
We really enjoyed working with Sam. It was our first time recording locally, so we were able to really get into the tiny details of this recording, whereas in the past we recorded our previous releases in two days each. I was able to really put more work into my vocals, as well spend more time tinkering with guitar and bass tones.
I really can’t say enough good things about working with Sam. Our previous recordings were great as examples of our sound at that time as a live punk band, but with these new songs we were able to really reflect on what we want to sound like and the small details that make our sound feel bigger and heavier.
I do want to shout out our friend Ian McQuary, who played the guitar solo passages on Dead Inside. He plays bass in the Richmond post punk band Hard Copy. Our lead guitarist left the band only a few weeks before our recording dates, and he subbed in last minute and busted out some great little solos that he wrote that are very expressive and fit the spirit of what we wanted to convey with the song.
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You once mentioned that the new lineup and new setup of the band gave you a chance to evolve our sound towards something a bit more primal and intense. That’s not the usual direction most bands take—often, they try to smooth out their sound over time. What inspires you to go the other way?
Although there was a certain degree of frustration of having to grind down our lineup into a three piece, I think it really did help us become a tighter and better sounding band. When you’re a trio, you really have to be on your A-game, especially me as a guitarist, because there is no sonic safety net when you mess up. I think with that in mind, it made me want to write songs that are a bit more simple and direct, while also still trying to be a little ambitious with the songwriting.
The influence of bands like Celtic Frost and Amebix is massive for me and this band, where you are writing parts that on paper are very simple and primitive, but you try to make it sound as imposing as possible. Also, to be completely honest, I’m also just not very adept as a lead guitar player, so the thrash metal influence was a bit dialed back on these new songs and some of the other ones that are also in the works, with us instead dialing in the intensity and riff writing, where we previously may have used more guitar leads as a filler. That’s not to say I am not open to having a second guitar player again, I just want to make sure it’s someone who fits the vision of this band.
You’ve talked about tweaking and adjusting your style, which feels like it’s connected to preparing for a full-length release. What can you tell us about that? When are you planning to dive into it, and how do you envision this project evolving at this point?
We are inching our way towards doing a long form release. We’re just about in a place as a band where I think that we can write/release an LP that we are really proud of. For now though we are thinking we will possibly release another single or 7” before we do something a bit more ambitious.
You’ve also played a bunch of shows since we last talked, alongside bands like INCANTATION, RINGWORM, ZORN, PAGENINETYNINE, and DELETAR. What was that experience like? Have any of those shows changed the way you think about your live performance? I feel like that happens a lot—bands start out as support and learn a ton by watching others and tweaking their own approach.
I think if anything, seeing bands like Zorn or Pageninetynine was just a real kick in the ass to step our fans up in terms of our live sets. Although we don’t necessarily sound like either band, they both are incredibly moving and memorable bands and that is something to aspire to.
What gigs do you have lined up next? What’s on the horizon for you guys?
We have a few local gigs lined up around Richmond for the next few months, as well as a Philadelphia gig and possibly Norfolk as well.
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We also have a gig with the legends in Obituary just a few days after the release of our new Flexi, so we are really looking forward to that. For next year, we hope to potentially release another 7” that will continue to develop our sound a bit, and we would really love to do some more touring. The west coast is looking especially appealing lately for a short tour.
And lastly, as the year’s wrapping up—what releases have really stuck with you this year? Which artists have grabbed your attention? Throw some recommendations our way for our readers!
Our bassist Erik really liked the album Resort by Skee Mask, I’ve really dug the new Unto Others album and am really excited for the new album from the Cure.
In terms of more punk/hardcore/metal type stuff, we all really dig the new albums this year from Cicada, Invertebrates, Public Acid, Alienator, and Copperhead. Oh yeah, and that new 200 Stab Wounds album rocks too.
Thanks a ton, and greetings from Warsaw! Take care, guys.
