Tracked in 2024 at Cart Studios in Philadelphia and mastered by Brad Boatright at Audiosiege, Sowing Seeds in Fields of Bone is the new EP from noise rockish post hardcore punks Get Well, released May 2, 2025 on Bandcamp and Ampwall, with an Eco-CD version including four bonus tracks. The full streaming release will follow on May 9.
Photos by Kateri Jade, punktographymedia.com
Artwork and layout come from Aaron D.C. Edge, whose visuals echo the EP’s tone of urgency and disillusionment. The band’s statement of support for “all liberatory struggles” and refusal to normalize systemic cruelty sets the moral ground for the four songs that follow.
The record focuses on direct lyrical delivery and a refusal to abstract the issues at its core. “I wanted the new songs to be a bit more direct lyrically,” says vocalist Scott. “Apparently sometimes you just need to spell things out or repeat them.” That bluntness defines the whole release—urgent, unornamented, and rooted in a sense of moral fatigue and rage.
Bassist Gillen said that while writing, he was thinking only of Michelle Yeoh jumping a motorcycle onto a train in Supercop—and oddly, the EP feels like it’s hurtling toward impact the entire time.
The full EP clocks in under 11 minutes but manages to build and destroy entire emotional systems within that span. There’s no decorative language, no space given to false hope or vague metaphor. Just four precise cuts aimed directly at the rot underneath.
The band sat down with us to dive into each song on the EP. Check out the full rundown below.
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“Redress”
Scott (vocals): Fascism is built on contradictions: the enemy is weak and all powerful. The horrific immoral thing being proposed is a moral necessity. Our thoughts are summed up by the end of the song. Vocally, it took a minute to figure out…I wanted the intensity to help propel the song forward but still give things a little space to breathe. Hapoy with the pay off.
Thomas (Guitar, Engineering): Came together pretty easy (by our standards). I remember wanting this one to sound like Curtain by Unbroken but originally the ending was more black metal sounding. I recorded myself doing an exposure therapy exercise which included sticking my fingers down my throat and dry heaving. It’s in there at the end but I wish it was louder.
Trevor (Drums): The end of this song represents one of my favorite things about writing—I have a lot fun trying to toe the line between things that feel heavy/natural but are actually in a non-standard time signature. I really like how this “breakdown” kind of grooves, but it’s just an extra half-beat longer than a normal 4/4 bar.
“Meet and Greet”
Scott (vocals): The people destroying this world have names and addresses. Why do they feel safe?
Thomas (Guitar, Engineering): I was listening to a lot of Turmoil when I came up with the baby versions of the two riffs in this song. I wish we recorded Trevor getting messier in the break right before the end.
Trevor (Drums): There’s like a half-dozen rhythmic ideas packed into a song just more than a minute long, and I love how it sounds coherent and not messy at all. It also presents a new feel that is pretty different from our past material and offers up some nice variety for just a 4-track EP. This freight-train of a song is just absolute chef’s kiss for me.
“Canaanized”
Scott (vocals): We’ve had a genocide live-streamed to our phones non-stop and still people refuse to acknowledge it for what it is. We watched several people self-immolate in protest of this. Aaron Bushnell should have been the end of many should-have-been ends. No institution that pushed this should be allowed to remain. Vocally, I managed to cram a lot into this and keep each part unique, it’s a fun one live.
Thomas (Guitar, Engineering): The intro riff is so old, it’s been floating around our hard drive since 2017? My noodle-y riff was me trying to sound like Universal Order of Armageddon.
Trevor (Drums): A song nearly a decade in the making. Getting past this intro riff kicked our ass, but I’m really happy with what we figured out. Even though we wrote that riff nearly a decade ago, it’s interesting how well it fits with the most recent evolution of our writing. 5/8 is my favorite time signature to write in (yea, I’m that kind of nerd), and I’m really happy with how the second half of this song grooves.
“Captive Bolt”
Scott (Vocals):
It can be difficult to give or receive hope…to feel that our intentions have any meaning. It’s hard to comfort loved ones dealing with the weight of the world. There are things we need to unlearn…ways we act because those with power decided they were civil. We can not play by their rules, the most moral action one could take right now is sabotage. Corporations should not own fresh water sources. Soap companies should not be advertising that they’re used to clean crude oil off of animals. Surveillance companies, weapons manufacturers…root them out. Process wise – we had to dive into how this one built up but it felt rewarding to watch it start to work, I had the vocals ready almost immediately. Really like how it came out.
Thomas (Guitar, Engineering): Bit of an odd one for us; this was more vibe based than usual. I think we had to change up our original idea for the ending cause it sounded too much like Young Widows.
Trevor (Drums): As someone who needs a song to basically constantly vie for my attention, Thomas showing up to practice with a song idea that was “just chords like this and then it gets a bit faster like this and that’s the song” felt like a daunting task for me. I’m happy I managed to quash my fears and let the process play out—this song builds really nicely. My only request was that the song end big, but in a way that wasn’t too straightforward. This was another tough riff to write, but Gillen knocked it out of the park.
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