When State Faults reemerged in 2019 after a five year hiatus – with years spent playing with their indie-punk side project Slow Bloom -, they burst back onto the scene with their third full-length, Clairvoyant, in hand. The record’s subsequent success saw the band touring extensively across North America and Europe in the latter half of the year, and with a renewed sense of maturity and focus, each member was eager to seize the momentum in 2020. Then the world shut down. Forced to cancel their spring and summer tours, State Faults embraced the post-pandemic landscape by immersing themselves in fresh material. After a year of intensive writing, they teamed up with producer Chris Teti in Burlington, to craft what would become their fourth studio opus, Children of the Moon.
With the world still largely shut down, the band would spend the next several years biding their time, navigating numerous post-production delays, financial hardships, personal misfortune and a near break-up before finally finding the right opportunity to present the record to the world. Pushing the boundaries of the screamo genre, Children of the Moon sees the band exhibiting their creative evolution with each track on the record. Its first single, “Palo Santo”, which arrives today with its own Timmy Lodhi-directed music video -, is filled with infectious hooks and a rare showcase of vocalist and guitarist Jonny Andrew’s singing amidst his signature screams. He comments, “‘Palo Santo’ was the first song we wrote after recording Clairvoyant in early 2019. It deals with the struggle to accept that nothing is permanent, and that the floor can fall out from under you at any moment. It’s a reminder in those moments of life that totally knock you down, where you feel like you’re drowning in uncertainty and can’t see where to go next, to remember who you are and live in your truth, and shine on with love and compassion for yourself and others.”
Children of the Moon will be released on July 26th via Deathwish Inc. Pre-orders are now available here.
Photo credit: Sara Sanger
