Album: Echo by Of Mice & Men (2021)
Genre: Metal
Record Label: SHARPTONE
Format: Album

Related Artists: We Came as Romans, Memphis May Fire, Wage War, Asking Alexandria

Music Scene: Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Tags: Metal, 2020s, Album, SHARPTONE


Album: Live at Brixton by Of Mice & Men (2016)
Genre: Metalcore | Style: Metal
Record Label: Rise Records
Format: Album

Artist Background: Of Mice & Men is an American metalcore band from Costa Mesa, California. The group was founded by Austin Carlile and Jaxin Hall during mid-2009 after Carlile's departure from Attack Attack!. The name of the band is derived from John Steinbeck's novel of the same title. Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Related Artists: We Came as Romans, Memphis May Fire, Wage War, Asking Alexandria

Music Scene: Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Tags: Metalcore, Metal, 2010s, Album, Rise Records


The self-titled debut album by Of Mice & Men presents a robust blend of metalcore and post-hardcore elements, characterized by aggressive guitar riffs and dynamic drumming. The production is polished, allowing for a crisp clarity that highlights the intricate layering of instruments. Vocals oscillate between melodic singing and harsh screams, creating a compelling contrast that drives the emotional weight of the tracks. Songs like "Second & Sebring" and "They Don't Call It the South for Nothing" showcase a mix of high-energy tempos and slower, more introspective moments, enhancing the album's overall texture. The use of atmospheric interludes and heavy breakdowns further distinguishes the sound, making it a notable entry in the genre.

Album: Of Mice & Men by Of Mice & Men (2010)
Genre: Metal | Style: Rock/Pop
Record Label: Rise Records
Format: Album

Artist Background: Of Mice & Men is an American metalcore band from Costa Mesa, California. The group was founded by Austin Carlile and Jaxin Hall during mid-2009 after Carlile's departure from Attack Attack!. The name of the band is derived from John Steinbeck's novel of the same title. Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Related Artists: We Came as Romans, Memphis May Fire, Wage War, Asking Alexandria

Music Scene: Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Tags: Metal, Rock/Pop, 2010s, Album, Rise Records


Of Mice & Men's debut record masterfully conflates technical-metal prowess and relentless hardcore mood swings. On "Ydg" and "John Deux Trois", pinwheeling guitars slice like throwing stars (making the perfect chaotic foil for Austin Carlile's scaldingly unclean vocals), while the drums on "Westbound & Down" careen like dishes clattering off a shelf. Even tracks like “Those in Glass Houses” and “Farewell to Shady Glade”, which feature clear-headed, melodic singing from Carlile, stay unforgiving in their knife-twisting intensity.

The Flood" showcases a dynamic blend of metalcore and rock-pop elements, characterized by aggressive guitar riffs and melodic hooks. The production is polished, enhancing the crispness of the instrumentation while allowing the raw energy of the vocals to shine through. Tracks like "O.G. Loko" and "Product of a Murderer" feature driving tempos and intense breakdowns, creating a sense of urgency and power. The album balances heavy, distorted textures with moments of atmospheric clarity, particularly in tracks like "Repeating Apologies." This contrast adds depth, making the listening experience both exhilarating and emotionally resonant. The overall sound is distinctive for its seamless integration of aggression and melody, appealing to fans of the genre.

Album: The Flood by Of Mice & Men (2011)
Genre: Metal | Style: Rock/Pop
Record Label: Rise Records
Format: Album

Artist Background: Of Mice & Men is an American metalcore band from Costa Mesa, California. The group was founded by Austin Carlile and Jaxin Hall during mid-2009 after Carlile's departure from Attack Attack!. The name of the band is derived from John Steinbeck's novel of the same title. Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Related Artists: We Came as Romans, Memphis May Fire, Wage War, Asking Alexandria

Music Scene: Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Tags: Metal, Rock/Pop, 2010s, Album, Rise Records

Additional Context: Available on Discogs marketplace


Album: Restoring Force by Of Mice & Men (2014)
Genre: Metal | Style: Rock/Pop
Record Label: Rise Records
Format: Album

Description: "Restoring Force"  is the third full-length studio album by American metalcore band Of Mice & Men. It was released on January 24, 2014 in Europe and Australia, January 27, 2014 in Japan and the UK and January 28, 2014 in the US through Rise Records. A deluxe edition of the album, titled Restoring Force: Full Circle, was released on February 20, 2015. It featured four bonus tracks, including an acoustic version of "Feels Like Forever".
Restoring Force sold 51,000 copies in its first week, debuting at number 4 on the US Billboard 200. The album is the band's highest charting album peaking at number 1 for the first time on the Independent Albums and Hard Rock album charts.

Artist Background: Of Mice & Men is an American metalcore band from Costa Mesa, California. The group was founded by Austin Carlile and Jaxin Hall during mid-2009 after Carlile's departure from Attack Attack!. The name of the band is derived from John Steinbeck's novel of the same title. Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Related Artists: We Came as Romans, Memphis May Fire, Wage War, Asking Alexandria

Music Scene: Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Tags: Metal, Rock/Pop, 2010s, Album, Rise Records


"Restoring Force"  is the third full-length studio album by American metalcore band Of Mice & Men. It was released on January 24, 2014 in Europe and Australia, January 27, 2014 in Japan and the UK and January 28, 2014 in the US through Rise Records. A deluxe edition of the album, titled Restoring Force: Full Circle, was released on February 20, 2015. It featured four bonus tracks, including an acoustic version of "Feels Like Forever".
Restoring Force sold 51,000 copies in its first week, debuting at number 4 on the US Billboard 200. The album is the band's highest charting album peaking at number 1 for the first time on the Independent Albums and Hard Rock album charts.

Album: Defy by Of Mice & Men (2018)
Genre: Metalcore | Style: Metal
Record Label: Rise Records
Format: Album

Artist Background: Of Mice & Men is an American metalcore band from Costa Mesa, California. The group was founded by Austin Carlile and Jaxin Hall during mid-2009 after Carlile's departure from Attack Attack!. The name of the band is derived from John Steinbeck's novel of the same title. Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Related Artists: We Came as Romans, Memphis May Fire, Wage War, Asking Alexandria

Music Scene: Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Tags: Metalcore, Metal, 2010s, Album, Rise Records

Additional Context: Available on Discogs marketplace


On their fifth album—their first since frontman Austin Carlile’s departure—California’s Of Mice & Men push full steam ahead. Stepping into Carlile's shoes is bassist Aaron Pauley, on both clean and screamed vocals. Defy’s grunge-influenced melodies and (occasionally) dipping tempos breathe diversity and digestibility into the formidable metalcore mix. While the titular track and “Unbreakable” sing of strength and perseverance, “On the Inside” and “Warzone” reveal painful truths. Sandwiched in the middle comes an audacious album highlight: a roaring rendition of Pink Floyd’s classic “Money”. With Defy, Of Mice & Men not only prevail—they raise the bar.

Album: Cold World by Of Mice & Men (2016)
Genre: Nu Metal | Style: Rock/Pop
Record Label: Rise Records
Format: Album

Description: "Cold World"  is the fourth full-length studio album by American metalcore band Of Mice & Men, released on September 9, 2016 through Rise Records. The album was produced by David Bendeth and will follow-up the group's third studio album, Restoring Force (2014).
The lead single, "Pain", was released on June 27, 2016.

Artist Background: Of Mice & Men is an American metalcore band from Costa Mesa, California. The group was founded by Austin Carlile and Jaxin Hall during mid-2009 after Carlile's departure from Attack Attack!. The name of the band is derived from John Steinbeck's novel of the same title. Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Related Artists: We Came as Romans, Memphis May Fire, Wage War, Asking Alexandria

Music Scene: Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Tags: Nu Metal, Rock/Pop, 2010s, Album, Rise Records

Additional Context: Available on Discogs marketplace


"Cold World"  is the fourth full-length studio album by American metalcore band Of Mice & Men, released on September 9, 2016 through Rise Records. The album was produced by David Bendeth and will follow-up the group's third studio album, Restoring Force (2014).
The lead single, "Pain", was released on June 27, 2016.

Album: EARTHANDSKY by Of Mice & Men (2019)
Genre: Metalcore
Record Label: Rise Records
Format: Album

Description: Earthandsky (stylized in all caps; read as Earth and Sky) is the sixth studio album by American metalcore band Of Mice & Men. It was released on September 27, 2019 through Rise Records. The album was produced by Josh Wilbur and is the follow-up to the group's fifth album, Defy (2018).

Background and promotion
On October 10, 2018, Aaron Pauley announced that the band is working on a new album with producer Josh Wilbur. Pauley has also stated that the new record will be 'heavier' compared to Defy.

On February 14, 2019, the band released the first single of the album titled "How to Survive" which, as they stated, sounded much heavier than tracks from their previous album Defy.

On May 3, the band released the second single titled "Mushroom Cloud" and its corresponding music video.

On July 26, the band released the third single and title track "Earth & Sky" along with a music video.

On September 5, the band released the fourth single of the album titled "Taste of Regret" along with an accompanying music video.

Critical reception
Professional ratings
Review scores
Source	Rating
Distorted Sound	9/10
Kerrang!	3/5 stars
Wall of Sound	8.5/10
The album received mostly positive reviews from critics. Distorted Sound scored the album 9 out of 10 and said: "Earthandsky is a hefty gift from Of Mice & Men. One could argue it's merely the "step-up" from Defy with an expected push into an even heavier direction, but pockets of surprises with songs that don't hold back in the experimental changes give them a unique, refreshing sound. If this is anything to claim for what the future of Of Mice & Men promises, then it's looking like a bright future." Kerrang! gave the album 3 out of 5 and stated: "Whichever facet of Of Mice & Men first appealed to fans, they're catered for even more ably on Earthandsky than on its predecessor. It is an album as epic as its title, and proves that, although this is a band who have had to traverse more trouble than some, they will not be defeated by them." Wall of Sound gave the album a score 8.5/10 and saying: "Earthandsky is a representation of past and present day Of Mice & Men. The band aims to find the perfect balance in melodic metalcore right throughout this record, layering screams, vocals and breakdowns in a way that makes for an enjoyable listen. This album was an absolute experience to listen to, for old and new OM&M fans alike, and is a great addition to their legendary catalogue and contribution they've brought to metalcore during their entire career as a band."

Artist Background: Of Mice & Men is an American metalcore band from Costa Mesa, California. The group was founded by Austin Carlile and Jaxin Hall during mid-2009 after Carlile's departure from Attack Attack!. The name of the band is derived from John Steinbeck's novel of the same title. Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Related Artists: We Came as Romans, Memphis May Fire, Wage War, Asking Alexandria

Music Scene: Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Tags: Metalcore, 2010s, Album, Rise Records


Earthandsky (stylized in all caps; read as Earth and Sky) is the sixth studio album by American metalcore band Of Mice & Men. It was released on September 27, 2019 through Rise Records. The album was produced by Josh Wilbur and is the follow-up to the group's fifth album, Defy (2018).

Background and promotion
On October 10, 2018, Aaron Pauley announced that the band is working on a new album with producer Josh Wilbur. Pauley has also stated that the new record will be 'heavier' compared to Defy.

On February 14, 2019, the band released the first single of the album titled "How to Survive" which, as they stated, sounded much heavier than tracks from their previous album Defy.

On May 3, the band released the second single titled "Mushroom Cloud" and its corresponding music video.

On July 26, the band released the third single and title track "Earth & Sky" along with a music video.

On September 5, the band released the fourth single of the album titled "Taste of Regret" along with an accompanying music video.

Critical reception
Professional ratings
Review scores
Source	Rating
Distorted Sound	9/10
Kerrang!	3/5 stars
Wall of Sound	8.5/10
The album received mostly positive reviews from critics. Distorted Sound scored the album 9 out of 10 and said: "Earthandsky is a hefty gift from Of Mice & Men. One could argue it's merely the "step-up" from Defy with an expected push into an even heavier direction, but pockets of surprises with songs that don't hold back in the experimental changes give them a unique, refreshing sound. If this is anything to claim for what the future of Of Mice & Men promises, then it's looking like a bright future." Kerrang! gave the album 3 out of 5 and stated: "Whichever facet of Of Mice & Men first appealed to fans, they're catered for even more ably on Earthandsky than on its predecessor. It is an album as epic as its title, and proves that, although this is a band who have had to traverse more trouble than some, they will not be defeated by them." Wall of Sound gave the album a score 8.5/10 and saying: "Earthandsky is a representation of past and present day Of Mice & Men. The band aims to find the perfect balance in melodic metalcore right throughout this record, layering screams, vocals and breakdowns in a way that makes for an enjoyable listen. This album was an absolute experience to listen to, for old and new OM&M fans alike, and is a great addition to their legendary catalogue and contribution they've brought to metalcore during their entire career as a band."

Album: Another Miracle by Of Mice & Men (2025)
Genre: Metal
Record Label: Century Media
Format: Album

Description: “Sometimes things happen for reasons that are beyond us.” That’s what Of Mice & Men lead vocalist Aaron Pauley says when asked about the title of the California metalcore band’s ninth album. “We have the notion that miracles are a once-in-a-lifetime thing, but the whole idea of another miracle implies that there already is one and you have to look for it.” On Another Miracle, Pauley and his bandmates—drummer Valentino “Tino” Arteaga, guitarist Phil Manansala and guitarist Alan Ashby—took the opportunity to pursue new sonic territories, most notably the heavy ’90s shoegaze vibe of “Wake Up”. “We really don’t know what we’re going to make before we make it,” Pauley says. “We just set out on these random little expeditions and follow what excites us, which leads us in all different directions. But for us on our ninth record, we felt like we had a little more freedom to explore.”

The one thing that didn’t change is Of Mice & Men’s full control of the production process. The album was engineered and produced by all four members, with Pauley handling the mix and master—just as they did for 2021’s Echo and 2023’s Tether. “We’d already set the precedent that we were capable of doing it ourselves,” he says. “And because we really enjoy it, we’re able to be as prolific as we want to be. We’re not bound by studio time and producer schedules and things like that. When you can’t sleep at 2:30 am, you can just fire up the computer and work on the album.” Below, he comments on each track.

“A Waltz”
“We picked this for the first track because it has what I guess you’d call a ‘wow factor’ out of the gate. The song is incredibly theatrical. It lived as an instrumental for a long time because it’s one of the most track-dense and sound-dense songs on the record. Lyrically, I think that one, in the zeitgeist, was probably the result of a bad news day or just one of those days when I was feeling misanthropic and hopeless, which is sort of a go-to topic in rock and metal. But I like the counting and the repetition that happens naturally here. If you allow yourself to sink into the song a bit, it will kind of hypnotise you. And that’s by design.”

“Troubled Water”
“This one is about one-sided relationships and the idea of not wasting your energy and materials building bridges that go nowhere over waters that you don’t really want to fall into if for some reason that bridge fails. It’s all proverbial, of course. Imagine if it was literal, like it’s about structural engineering. I think if you want to remain effective in your life, just as a human being who can affect the shared reality, you really have to guard your resources and your energies. There’s a lot of tension in the instrumental, which kind of told us what the song should be about. It just felt like it was talking about a struggle or a conflict.”

“Safe & Sound”
“I wrote that one for my daughter when my wife and I found out that we were going to be first-time parents. I kept having this daydream or recurring vision, wondering what it’s like for a soul coming down to Earth, coming from something that’s infinite to something that’s so small and fragile. The idea of keeping your child safe and sound—you can’t really make that promise, as much as you want to. The song is about acknowledging that. Even though the lyric is ‘I promise you’ll be safe and sound’, it’s acknowledging that we’re powerless in a lot of ways. I think recognising that is not a bad thing, as long as you don’t let it steal your joy.”

“Hourglass”
“Instrumentally, this is like a tornado of fire. It’s unrelenting and seems to have this twirling, spinning quality about it. In my mind, I just kept seeing an hourglass, with the sand swirling down. It’s playing off the idea that the bigger your mountain gets, the more you realise it’s built out of sand. This was one of the songs I wrote before I found out I was going to be a dad, so at the time, I was just a 36-year-old metal musician on a ninth record feeling a little burnt out and just a little unsure of what my place in the world was. We used to call that a midlife crisis and people used to buy Corvettes, but not in this economy. So, the song is really about wanting to find purpose.” 

“Wake Up”
“It started off as an instrumental loop that our drummer Tino came up with, where he did all the acoustic guitars and everything. It was just this super powerful ’90s alt-rock shoegaze thing, like you’ve just transformed into an eagle and you’re soaring over the Grand Canyon. It feels very dreamlike. Lyrically, it’s about being present and practising your awareness, which sounds like some esoteric hippie bullshit, but you can actually do it, and it can actually improve your life. It’s not pseudoscience. All we have is now; the past is gone; the future is inaccessible. So just be here and smell the roses a little bit.” 

“Flowers”
“This one is really heavy, but it has this sort of tender quality to it. Lyrically, the song is about the things in your life that you could call a storm inside of you—it’s different for everybody—and understanding that while that never goes away, you can use the rain from the storm to feed the flowers. Personally, I suffer from a major depressive disorder, anxiety and just being neurotic and offbeat and weird, like a lot of musicians are. But the things that make me sad are often the inspiration for the songs, which can then make other people less sad, which then makes me feel less sad.”

“Another Miracle”
“This one’s definitely a both-hands-up-to-the-sky, pleading-to-the-universe kind of song. If you can just dole out miracles, what’s another miracle? Can I get another one? If you’ve got a hundred dollars, what’s a dollar? I think everyone has moments in life when they either speak to a higher power or, if you don’t believe in that yourself, you can still ask for a miracle. Hopelessness is a last resort. This is a plea to not end up that way.” 

“Contact”
“This is your quintessential UAP disclosure song. We’re in an era now where they’ve been having congressional meetings about it. I’ve been a science fiction fan since I was born, and probably before that in a past life. When we were working on the record, there was just so much exciting stuff happening all at once in this field. Now it’s kind of slowed down, but for a minute there it was super saturated. And this song is just the idea of ‘take me with you’, written from the perspective of somebody who’s maybe a little bit too far gone. That’s always kind of fun.”

“Parable”
“I would say this is in the same vein as ‘Another Miracle’. It’s when you’re having one of those moments when you sort of disassociate from your life when your circumstances get either bad or just so far removed from what you think you want, and you’re like, ‘Holy shit, am I in a play right now? Is this some sort of Shakespearean tragedy that’s meant to teach a major life lesson?’ I think sometimes we all feel like we’re in The Truman Show, where we think, ‘Surely this is some kind of manual for what happens if you make the wrong decisions.’ You’re learning what not to do.”

“Somewhere in Between”
“This one is about not knowing how you feel, which, I think, is just as devastating as knowing that you feel bad. I think sometimes uncertainty and unknowing and feeling like you're in between two feelings is sort of like not being on one island or the other when the rescue plane comes. You’re somewhere in the water, and you’re gonna get left behind.” 

“Swallow”
“This one’s probably the most feel-bad song. It’s the idea of feeling disconnected from yourself and how what society pushes on us as we get older is mostly self-destructive. Like the remedy for feeling disconnected is to do things that would cause more disconnection, just for the sake of selling you something. And the three things society will sell you are transience, decadence or dissidence—which are all things that just lead to more emptiness. The song is saying, ‘Pick your poison and swallow it.’” 

“Infinite”
“It’s funny—this was one of the first songs we wrote, at least instrumentally, and it ended up as the last song on the album. It just felt like a capstone in the same way that ‘A Waltz’ felt like a good opener. They both feel like bookends. Lyrically, it’s about the idea of trying to connect more with our consciousness rather than just our bodies or just this limited reality, because our minds are really, really powerful. They're the source of a lot of our joy but also of a lot of our suffering, so be mindful.”

Related Artists: We Came as Romans, Memphis May Fire, Wage War, Asking Alexandria

Music Scene: Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Tags: Metal, 2020s, Album, Century Media

“Sometimes things happen for reasons that are beyond us.” That’s what Of Mice & Men lead vocalist Aaron Pauley says when asked about the title of the California metalcore band’s ninth album. “We have the notion that miracles are a once-in-a-lifetime thing, but the whole idea of another miracle implies that there already is one and you have to look for it.” On Another Miracle, Pauley and his bandmates—drummer Valentino “Tino” Arteaga, guitarist Phil Manansala and guitarist Alan Ashby—took the opportunity to pursue new sonic territories, most notably the heavy ’90s shoegaze vibe of “Wake Up”. “We really don’t know what we’re going to make before we make it,” Pauley says. “We just set out on these random little expeditions and follow what excites us, which leads us in all different directions. But for us on our ninth record, we felt like we had a little more freedom to explore.”

The one thing that didn’t change is Of Mice & Men’s full control of the production process. The album was engineered and produced by all four members, with Pauley handling the mix and master—just as they did for 2021’s Echo and 2023’s Tether. “We’d already set the precedent that we were capable of doing it ourselves,” he says. “And because we really enjoy it, we’re able to be as prolific as we want to be. We’re not bound by studio time and producer schedules and things like that. When you can’t sleep at 2:30 am, you can just fire up the computer and work on the album.” Below, he comments on each track.

“A Waltz”
“We picked this for the first track because it has what I guess you’d call a ‘wow factor’ out of the gate. The song is incredibly theatrical. It lived as an instrumental for a long time because it’s one of the most track-dense and sound-dense songs on the record. Lyrically, I think that one, in the zeitgeist, was probably the result of a bad news day or just one of those days when I was feeling misanthropic and hopeless, which is sort of a go-to topic in rock and metal. But I like the counting and the repetition that happens naturally here. If you allow yourself to sink into the song a bit, it will kind of hypnotise you. And that’s by design.”

“Troubled Water”
“This one is about one-sided relationships and the idea of not wasting your energy and materials building bridges that go nowhere over waters that you don’t really want to fall into if for some reason that bridge fails. It’s all proverbial, of course. Imagine if it was literal, like it’s about structural engineering. I think if you want to remain effective in your life, just as a human being who can affect the shared reality, you really have to guard your resources and your energies. There’s a lot of tension in the instrumental, which kind of told us what the song should be about. It just felt like it was talking about a struggle or a conflict.”

“Safe & Sound”
“I wrote that one for my daughter when my wife and I found out that we were going to be first-time parents. I kept having this daydream or recurring vision, wondering what it’s like for a soul coming down to Earth, coming from something that’s infinite to something that’s so small and fragile. The idea of keeping your child safe and sound—you can’t really make that promise, as much as you want to. The song is about acknowledging that. Even though the lyric is ‘I promise you’ll be safe and sound’, it’s acknowledging that we’re powerless in a lot of ways. I think recognising that is not a bad thing, as long as you don’t let it steal your joy.”

“Hourglass”
“Instrumentally, this is like a tornado of fire. It’s unrelenting and seems to have this twirling, spinning quality about it. In my mind, I just kept seeing an hourglass, with the sand swirling down. It’s playing off the idea that the bigger your mountain gets, the more you realise it’s built out of sand. This was one of the songs I wrote before I found out I was going to be a dad, so at the time, I was just a 36-year-old metal musician on a ninth record feeling a little burnt out and just a little unsure of what my place in the world was. We used to call that a midlife crisis and people used to buy Corvettes, but not in this economy. So, the song is really about wanting to find purpose.” 

“Wake Up”
“It started off as an instrumental loop that our drummer Tino came up with, where he did all the acoustic guitars and everything. It was just this super powerful ’90s alt-rock shoegaze thing, like you’ve just transformed into an eagle and you’re soaring over the Grand Canyon. It feels very dreamlike. Lyrically, it’s about being present and practising your awareness, which sounds like some esoteric hippie bullshit, but you can actually do it, and it can actually improve your life. It’s not pseudoscience. All we have is now; the past is gone; the future is inaccessible. So just be here and smell the roses a little bit.” 

“Flowers”
“This one is really heavy, but it has this sort of tender quality to it. Lyrically, the song is about the things in your life that you could call a storm inside of you—it’s different for everybody—and understanding that while that never goes away, you can use the rain from the storm to feed the flowers. Personally, I suffer from a major depressive disorder, anxiety and just being neurotic and offbeat and weird, like a lot of musicians are. But the things that make me sad are often the inspiration for the songs, which can then make other people less sad, which then makes me feel less sad.”

“Another Miracle”
“This one’s definitely a both-hands-up-to-the-sky, pleading-to-the-universe kind of song. If you can just dole out miracles, what’s another miracle? Can I get another one? If you’ve got a hundred dollars, what’s a dollar? I think everyone has moments in life when they either speak to a higher power or, if you don’t believe in that yourself, you can still ask for a miracle. Hopelessness is a last resort. This is a plea to not end up that way.” 

“Contact”
“This is your quintessential UAP disclosure song. We’re in an era now where they’ve been having congressional meetings about it. I’ve been a science fiction fan since I was born, and probably before that in a past life. When we were working on the record, there was just so much exciting stuff happening all at once in this field. Now it’s kind of slowed down, but for a minute there it was super saturated. And this song is just the idea of ‘take me with you’, written from the perspective of somebody who’s maybe a little bit too far gone. That’s always kind of fun.”

“Parable”
“I would say this is in the same vein as ‘Another Miracle’. It’s when you’re having one of those moments when you sort of disassociate from your life when your circumstances get either bad or just so far removed from what you think you want, and you’re like, ‘Holy shit, am I in a play right now? Is this some sort of Shakespearean tragedy that’s meant to teach a major life lesson?’ I think sometimes we all feel like we’re in The Truman Show, where we think, ‘Surely this is some kind of manual for what happens if you make the wrong decisions.’ You’re learning what not to do.”

“Somewhere in Between”
“This one is about not knowing how you feel, which, I think, is just as devastating as knowing that you feel bad. I think sometimes uncertainty and unknowing and feeling like you're in between two feelings is sort of like not being on one island or the other when the rescue plane comes. You’re somewhere in the water, and you’re gonna get left behind.” 

“Swallow”
“This one’s probably the most feel-bad song. It’s the idea of feeling disconnected from yourself and how what society pushes on us as we get older is mostly self-destructive. Like the remedy for feeling disconnected is to do things that would cause more disconnection, just for the sake of selling you something. And the three things society will sell you are transience, decadence or dissidence—which are all things that just lead to more emptiness. The song is saying, ‘Pick your poison and swallow it.’” 

“Infinite”
“It’s funny—this was one of the first songs we wrote, at least instrumentally, and it ended up as the last song on the album. It just felt like a capstone in the same way that ‘A Waltz’ felt like a good opener. They both feel like bookends. Lyrically, it’s about the idea of trying to connect more with our consciousness rather than just our bodies or just this limited reality, because our minds are really, really powerful. They're the source of a lot of our joy but also of a lot of our suffering, so be mindful.”

Album: Tether by Of Mice & Men (2023)
Genre: Metal
Record Label: SHARPTONE
Format: Album

Description: According to vocalist/bassist Aaron Pauley, Of Mice & Men’s eighth album is one of the California metalcore band’s most personal. “I think it's a more introspective and self-reflective record in a lot of ways,” he tells Apple Music. “The older we get, the more we reflect on things that are more associated with adulthood than youthfulness, so the theme of Tether has to do with the idea of wanting to protect your loved ones from the storms of life but understanding that the best you can do is provide shelter and relief when you can.”

Beyond simply getting older as a band and as people, Pauley attributes the album’s introspective theme to the enforced downtime that Of Mice & Men—and everyone—had to endure between 2020 and 2022. “I think a lot of the material wouldn't maybe have been this self-reflective had we not gone through a pandemic,” he says. “Had we been touring, had life been different, I think it would’ve presented different material to write about. Because there was not a lot going on, we wrote about our lives. But if you do that honestly and diligently, you’re going to connect with people.” Below, he discusses a few of the album’s highlights. 

“Integration”
“Lyrically, it’s about wanting to break yourself down and understanding that a low point is a perfect time to build yourself back up. In society, I think we tend to whitewash and sugar-coat how difficult that is. I tend to write lyrics based on what I feel like the music is saying, the emotional context of the music, and this song is taking a lot of musical elements that don't necessarily work together. The opening riff is largely spatial, but it’s syncopated. To me, it musically represents how we have a deep psychological need to organise our chaos.” 

“Warpaint”
“This is a fast and aggressive song. It has this sort of ominous sound that reminds me of the monster from the Predator movie, and this sort of chugging, machine-like pace to it. The song is about how the thing in your life that you're struggling against can feel personified as a monster or a creature hunting you, and how it can be in our nature to acquiesce to those sorts of things. But the more present we can be in our lives, the more we can put up a fight.” 

“Shiver”
“This is one of my favourites on the record. It's sort of a commiseratory song. For people that struggle with anxiety or depression and mental health issues in general, the nighttime is when it tends to get difficult. I think the daytime has enough distractions, but the nighttime's sort of where you're alone with yourself. Lyrically, it’s straightforward: You're not alone. I deal with these things. A lot of our fans deal with these things. A lot of people in general deal with it. And now societally we’re talking more about it.” 

“Castaway”
“This is about how there are people in our lives—or maybe it's us—that tend to distance themselves when they're going through hardships. They tend to deal with stuff on their own. And there are undoubtedly people in their life that wish they could help or do something about it, but they're sort of shut out. The song equates that to somebody being lost at sea, and what you would say if you did get ahold of them, if you were able to make that connection work.” 

“Tether”
“I think this one is probably the most encompassing of all the lyrical themes of the record. It’s the idea that you can’t stop the storms of life from coming, but what you can do is just offer shelter and safe harbour for the people in your life when they’re going through hardships. We felt really strongly about this song, but we knew it wasn’t going to be picked as a single, so we named the record after it in hopes that it would get a little more attention.” 

“Indigo”
“I think this song is in a similar vein to ‘Shiver’ in that it’s deeply rooted in commiserating and connection. It’s sitting down and speaking to a loved one that you see as grieving and dealing with existential questions that arise with loss and growing older and things like that. But I think it's very much rooted in love and wanting to comfort the other person.” 

“Zephyros”
“It’s about not wanting to allow things like fear and doubt and the way that we're programmed to be scared of change and failure and discomfort to stop us from living life—or from leaving the house even. I'm really guilty of that. I like being home. I feel like all the chaotic stuff happens outside. But I think there is a certain amount of understanding that while life has to be lived on its terms, you also don't need to be subservient to fear and doubt. It’s expressing to somebody that you care about that you’re willing to do those things at the cost of comfort, because what good is comfort if it comes at the price of regret?”

Related Artists: We Came as Romans, Memphis May Fire, Wage War, Asking Alexandria

Music Scene: Part of the California, USA music scene. Emerged in the 2000s era. Associated with Metalcore movement. Known for Metal style.

Tags: Metal, 2020s, Album, SHARPTONE

According to vocalist/bassist Aaron Pauley, Of Mice & Men’s eighth album is one of the California metalcore band’s most personal. “I think it's a more introspective and self-reflective record in a lot of ways,” he tells Apple Music. “The older we get, the more we reflect on things that are more associated with adulthood than youthfulness, so the theme of Tether has to do with the idea of wanting to protect your loved ones from the storms of life but understanding that the best you can do is provide shelter and relief when you can.”

Beyond simply getting older as a band and as people, Pauley attributes the album’s introspective theme to the enforced downtime that Of Mice & Men—and everyone—had to endure between 2020 and 2022. “I think a lot of the material wouldn't maybe have been this self-reflective had we not gone through a pandemic,” he says. “Had we been touring, had life been different, I think it would’ve presented different material to write about. Because there was not a lot going on, we wrote about our lives. But if you do that honestly and diligently, you’re going to connect with people.” Below, he discusses a few of the album’s highlights. 

“Integration”
“Lyrically, it’s about wanting to break yourself down and understanding that a low point is a perfect time to build yourself back up. In society, I think we tend to whitewash and sugar-coat how difficult that is. I tend to write lyrics based on what I feel like the music is saying, the emotional context of the music, and this song is taking a lot of musical elements that don't necessarily work together. The opening riff is largely spatial, but it’s syncopated. To me, it musically represents how we have a deep psychological need to organise our chaos.” 

“Warpaint”
“This is a fast and aggressive song. It has this sort of ominous sound that reminds me of the monster from the Predator movie, and this sort of chugging, machine-like pace to it. The song is about how the thing in your life that you're struggling against can feel personified as a monster or a creature hunting you, and how it can be in our nature to acquiesce to those sorts of things. But the more present we can be in our lives, the more we can put up a fight.” 

“Shiver”
“This is one of my favourites on the record. It's sort of a commiseratory song. For people that struggle with anxiety or depression and mental health issues in general, the nighttime is when it tends to get difficult. I think the daytime has enough distractions, but the nighttime's sort of where you're alone with yourself. Lyrically, it’s straightforward: You're not alone. I deal with these things. A lot of our fans deal with these things. A lot of people in general deal with it. And now societally we’re talking more about it.” 

“Castaway”
“This is about how there are people in our lives—or maybe it's us—that tend to distance themselves when they're going through hardships. They tend to deal with stuff on their own. And there are undoubtedly people in their life that wish they could help or do something about it, but they're sort of shut out. The song equates that to somebody being lost at sea, and what you would say if you did get ahold of them, if you were able to make that connection work.” 

“Tether”
“I think this one is probably the most encompassing of all the lyrical themes of the record. It’s the idea that you can’t stop the storms of life from coming, but what you can do is just offer shelter and safe harbour for the people in your life when they’re going through hardships. We felt really strongly about this song, but we knew it wasn’t going to be picked as a single, so we named the record after it in hopes that it would get a little more attention.” 

“Indigo”
“I think this song is in a similar vein to ‘Shiver’ in that it’s deeply rooted in commiserating and connection. It’s sitting down and speaking to a loved one that you see as grieving and dealing with existential questions that arise with loss and growing older and things like that. But I think it's very much rooted in love and wanting to comfort the other person.” 

“Zephyros”
“It’s about not wanting to allow things like fear and doubt and the way that we're programmed to be scared of change and failure and discomfort to stop us from living life—or from leaving the house even. I'm really guilty of that. I like being home. I feel like all the chaotic stuff happens outside. But I think there is a certain amount of understanding that while life has to be lived on its terms, you also don't need to be subservient to fear and doubt. It’s expressing to somebody that you care about that you’re willing to do those things at the cost of comfort, because what good is comfort if it comes at the price of regret?”

Of Mice & Men

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