Amorist have confidently risen from their early days as Floods in Japan, morphing and refining their craft as they steer through the rich hardcore, punk and emotive rock influences. Their newest offering compass doesn’t merely point to one direction; it’s influenced by industry heavyweights like Knocked Loose, Better Lovers, and Bring Me the Horizon.
“Their debut EP “BRUISER” stands as a testament to two years of relentless pursuit of a delicate balance. This is not just a smattering of songs, but a well-thought-out collection where every track feels like a challenge to its predecessor. Each note, each vocal strain, echoes with the commitment and vigor the band has instilled.
The entire span of the EP clocks in at a crisp fourteen minutes. But to say that it’s short would be to undermine its potency. The sheer energy Amorist manages to pack in this duration outmatches what many in their genre offer in lengthier albums. Their candid remark rings true, “Influence-wise, the EP draws a lot of influences from different places.” However, what’s most striking is not just their musical homage, but the depth and introspection their lyrics bring to the table.
Central to the band’s narrative is their tussle with the inner demons. The anguish of confronting imposter syndrome, the weight of expectations, and the self-imposed pressures find a resonating voice in tracks like ‘BRUISER‘. The struggles of dealing with anxiety, self-doubt, and mania are painted vividly through the track’s lyrical journey, a true window into their soul.
“EMPTY PLEASURES” finds its genesis during the lockdown, capturing the essence of isolation, reclusion, and loss. The lyrics evoke a sense of claustrophobia, of walls closing in, but also the paradox of healing, of finding a balance between acknowledging pain and seeking peace.
“ECTOPIC” delves deep into the societal fabric, discussing how technology has rendered us both connected and disconnected. In the age of immediacy, the track is a clarion call for introspection, challenging societal norms, and advocating for genuine self-improvement.
The narrative then takes a turn with “CTRL.ALT.DEFEAT“, a more humanitarian anthem, emphasizing understanding, growth, and embracing love. “WDYWD”, on the other hand, offers a candid peek into the band member’s life during his university days, capturing ordinary moments with extraordinary emotions.
Amorist does not aim to revolutionize the punk and emo scenes. Instead, they present an authentic, nuanced, and richly woven mix of edgy composition and introspection.
Here’s the full track by track commentary, provided by the band themselves:
BRUISER (the track) brings up my frustration of being stuck in place dealing with mental health struggles, it questions the role of higher power as a silent spectator and deals with my difficulty managing friendships through the medium of technology. This track also references our 2020 demo in its lyrics, a demo that was well received. I struggled with knowing how to follow up that and not just write the same songs over and over, but also I felt the need to ‘one up’ what I had done before.
The line “six-four same tripped out BRUISER” references TSUNAMI 1994 – “six-four brick house bruiser” – as I felt it was important to acknowledge where we were coming from before we moved on to the next destination – stylistically and emotionally. BRUISER (the track) is a song about the crippling nature of anxiety, self-doubt, and mania.
EMPTY PLEASURES is about exactly what it says on the tin: how life is full of empty pleasures that offer temporary gratification and how I hoped to break away from short-term gratification and reach a state of long-term contentment. The lyrics were written to feel claustrophobic – “the room keeps breathing, the walls moving in like the overwhelming tide of something not quite feeling right” – and to represent panic attacks during reclusive isolation and the feeling of being entombed within a room.
I wrote this during lockdown when I was almost exclusively existing in a bedroom at my parents’ house and trying to write music every day that felt good enough to represent the band all whilst dealing with the residual effects of the lockdown – the feelings of isolation, reclusion, and loss.
The lyrics towards the end represent the paradoxical nature of healing and growth, the idea that you must acknowledge the wrongdoings of yourself and others, allow yourself to feel the emotions you are feeling, but simultaneously find peace and stability and let go of any anger or resentful feelings.
ECTOPIC draws from the feelings in BRUISER surrounding technology and the feelings of suffocating recluse of EMPTY PLEASURES.
The lyrics are very much about how easy it is to recluse but excuse it and even see it as healthy since everyone is immediately contactable 24/7 through phones and social media. How the world is simultaneously becoming more connected and more disconnected.
It’s about the same growth and reflection previously mentioned but in a way that challenges the societal norm that is so quick to excuse harmful behaviour and to make self-improvement taboo.
CTRL.ALT.DEFEAT was the first track we wrote after the DEMO EP. It feels a lot closer to the DEMO tracks stylistically but has a more humanitarian-driven message of breaking down societal barriers and understanding that troublesome people are usually troubled people. I wanted to create something that could criticise hateful behaviour but didn’t eliminate the chance of changing those habits, growing as a person, and embracing love.
WDYWD is, simply put, a track about my life during my second year of university. I was working two jobs while studying and playing in bands, as well as dealing with personal trauma and grief. I wanted it to feel raw and candid, yet ordinary and relatable.
The opening lyrics are directly about a night i was late to work because my car broke down, followed by a trip to Tesco after the shift at around 2 a.m. to buy an energy drink because I had a 9 a.m. lecture and work the following day but being declined because I didn’t have my ID.
When I was driving up to my lecture around 7 a.m. a friend of mine kept calling me and that’s what the crux of the song is really about, a really difficult time in my life where I was just stumbling through and trying to be the best person to those around me, often at my own detriment. It was sort of the inner monologue of what I wanted to say out loud at that point, how I didn’t feel up to talking to people or really much at all, but simultaneously wanting to be a supportive and present friend.
It feels like a really pertinent song now that I’m distanced from that point of my life a bit and I’m performing it live with the people who showed up for me and dragged me (and admittedly, continue to drag me) through tough times.
