Peace In Place
Poison The Well
Peace In Place is Poison the Well’s sixth studio album and their first in 17 years, released March 20, 2026 on SharpTone Records. Written after a long period of hiatus and sporadic reunions, it plays very consciously as a comeback statement from one of metalcore’s key originators, blending the chaotic heaviness and emotional volatility of their early work with the more textural, post‑hardcore experimentation of Versions and The Tropic Rot. Across ten tracks, the band sound older, angrier, and more deliberate, with Jeff Moreira’s vocals deeper and more controlled, the guitars pushing from jagged dissonance into widescreen melody, and Will Putney’s production making everything hit hard without sanding off the edges.
The album opens with “Wax Mask,” which creeps in on feedback and soft crooning before detonating into a rush of off‑kilter riffs and screamed lines—an echo of “Botchla” in how it reintroduces their heavy/fragile contrast. From there, “Primal Bloom,” “Thoroughbreds,” and “Everything Hurts” slam between precise, chugging rhythms, frantic drumming, and unexpectedly huge, melodic choruses, while “Weeping Tones” and “Drifting Without End” momentarily pull back into more spacious, mournful territory without sacrificing intensity. Later songs like “A Wake of Vultures,” “Bad Bodies,” “Melted,” and closer “Plague Them the Most” revisit their gift for dynamic, stop‑start arrangements and buried hooks, with the final track hiding a quiet, late‑appearing ballad section that lingers on themes of love, confession, and unresolved devotion.
Peace In Place is Poison the Well’s sixth studio album and their first in 17 years, released March 20, 2026 on SharpTone Records. Written after a long period of hiatus and sporadic reunions, it plays very consciously as a comeback statement from one of metalcore’s key originators, blending the chaotic heaviness and emotional volatility of their early work with the more textural, post‑hardcore experimentation of Versions and The Tropic Rot. Across ten tracks, the band sound older, angrier, and more deliberate, with Jeff Moreira’s vocals deeper and more controlled, the guitars pushing from jagged dissonance into widescreen melody, and Will Putney’s production making everything hit hard without sanding off the edges.
The album opens with “Wax Mask,” which creeps in on feedback and soft crooning before detonating into a rush of off‑kilter riffs and screamed lines—an echo of “Botchla” in how it reintroduces their heavy/fragile contrast. From there, “Primal Bloom,” “Thoroughbreds,” and “Everything Hurts” slam between precise, chugging rhythms, frantic drumming, and unexpectedly huge, melodic choruses, while “Weeping Tones” and “Drifting Without End” momentarily pull back into more spacious, mournful territory without sacrificing intensity. Later songs like “A Wake of Vultures,” “Bad Bodies,” “Melted,” and closer “Plague Them the Most” revisit their gift for dynamic, stop‑start arrangements and buried hooks, with the final track hiding a quiet, late‑appearing ballad section that lingers on themes of love, confession, and unresolved devotion.
Peace In Place
Poison The Well
Peace In Place is Poison the Well’s sixth studio album and their first in 17 years, released March 20, 2026 on SharpTone Records. Written after a long period of hiatus and sporadic reunions, it plays very consciously as a comeback statement from one of metalcore’s key originators, blending the chaotic heaviness and emotional volatility of their early work with the more textural, post‑hardcore experimentation of Versions and The Tropic Rot. Across ten tracks, the band sound older, angrier, and more deliberate, with Jeff Moreira’s vocals deeper and more controlled, the guitars pushing from jagged dissonance into widescreen melody, and Will Putney’s production making everything hit hard without sanding off the edges.
The album opens with “Wax Mask,” which creeps in on feedback and soft crooning before detonating into a rush of off‑kilter riffs and screamed lines—an echo of “Botchla” in how it reintroduces their heavy/fragile contrast. From there, “Primal Bloom,” “Thoroughbreds,” and “Everything Hurts” slam between precise, chugging rhythms, frantic drumming, and unexpectedly huge, melodic choruses, while “Weeping Tones” and “Drifting Without End” momentarily pull back into more spacious, mournful territory without sacrificing intensity. Later songs like “A Wake of Vultures,” “Bad Bodies,” “Melted,” and closer “Plague Them the Most” revisit their gift for dynamic, stop‑start arrangements and buried hooks, with the final track hiding a quiet, late‑appearing ballad section that lingers on themes of love, confession, and unresolved devotion.
Peace In Place is Poison the Well’s sixth studio album and their first in 17 years, released March 20, 2026 on SharpTone Records. Written after a long period of hiatus and sporadic reunions, it plays very consciously as a comeback statement from one of metalcore’s key originators, blending the chaotic heaviness and emotional volatility of their early work with the more textural, post‑hardcore experimentation of Versions and The Tropic Rot. Across ten tracks, the band sound older, angrier, and more deliberate, with Jeff Moreira’s vocals deeper and more controlled, the guitars pushing from jagged dissonance into widescreen melody, and Will Putney’s production making everything hit hard without sanding off the edges.
The album opens with “Wax Mask,” which creeps in on feedback and soft crooning before detonating into a rush of off‑kilter riffs and screamed lines—an echo of “Botchla” in how it reintroduces their heavy/fragile contrast. From there, “Primal Bloom,” “Thoroughbreds,” and “Everything Hurts” slam between precise, chugging rhythms, frantic drumming, and unexpectedly huge, melodic choruses, while “Weeping Tones” and “Drifting Without End” momentarily pull back into more spacious, mournful territory without sacrificing intensity. Later songs like “A Wake of Vultures,” “Bad Bodies,” “Melted,” and closer “Plague Them the Most” revisit their gift for dynamic, stop‑start arrangements and buried hooks, with the final track hiding a quiet, late‑appearing ballad section that lingers on themes of love, confession, and unresolved devotion.