Night Wilds bravely venture out on an emotional tightrope with their spellbinding, showstopping debut album All That Should Have Been — showcasing today on Tinnitist.
Seeking to astonish and amaze listeners of all ages, the progressive Seattle alt-rock band’s introductory offering is a dramatically entertaining, darkly cathartic concept album that cloaks autobiography in fantastical fiction. The 17-song rock opera chronicles the story of a boy trapped in a cruel circus, desperately performing for a madman ringleader.
“For my whole life, I have been searching for that magic pill to make everything feel better,” shares Night Wilds’ primary singer-songwriter Seth Micarelli. “This album is about making sense of that void. I wrote the album to get out the story that had been trapped inside for years.
It’s a story for all those who have struggled to make sense of their inner world and need the help of stories. It told the story of a child made to perform, unsure of who he is or was, and the journey through that madness and to the other side. It walks through all the phases a human has to go through to emerge from these dark places. It begins with the setting of the helplessness and total reliance of a baby and moves to what sense a child makes of a world where its needs are not met, the burdens taken on and the weight of those mind made manacles.”
Much like Pink Floyd’s The Wall and The Who’s Tommy, along with modern epics by Tool, Radiohead, and even Rage Against The Machine, All That Should Have Been is blurs the line between entertainment and enlightenment. The record’s thrilling narrative is viscerally enhanced by the project’s strictly analog ethos. No corners were cut on All That Should Have Been — even the string arrangements are real — and the songs feature world-class musicians recorded on vintage recording gear at storied studios in the band’s hometown. All That Should Have Been unfolds with cinematic scenery, dramatic turns of events, and literate lyrics teeming with metaphors, and painful realizations. Tucked inside this saga is Seth’s own story of working to emerge from darkness and addiction into light.
In his actual life, Seth found recovery, and became serious about the spiritual and personal growth work a healthy sober program necessitates. This album is a tribute to that journey and to authenticity in the place of emulation or performance. Seth is a lifelong musician, and for many years was fixated on trying to sound like his heroes: Bob Dylan, David Bowie, Mick Jagger and Roger Waters. “Music originally started for me as a way to connect with people, but I didn’t have the self-belief that I alone would be good enough, so I imitated my favorite musicians,” he says. “A few years ago, I realized I would rather be authentic and unliked then performative and loved, and every creative decision I made on this album was based on that realization.”
All That Should Have Been commences dramatically with a haunting monologue by a character lashing out at various performers in his show and then focusing on one child for whom this is all overwhelming. As he speaks and yells, a creepy mosaic of musical motifs and sound effects conjure a sick, circus-like atmosphere that sets the album’s ominous tone.
The album’s core emotionality and messaging comes to the foreground on New Jerusalem, a wistful and ethereal folk song that swells into a dynamic prog-rock epic, replete with a chorus of heavenly female backup singers and stately strings. Seth wearily sings: “Well, there is a wall falling down on me / I don’t remember who I am supposed to be / Cold comfort comes, but I still can’t sleep.” The song then builds and builds until the chilling refrain: “Stop crying, or I’ll give you a reason to cry.” The mournful track comes alive through a powerfully poignant and metaphorical video featuring a young boy lost in a wartorn land where all the players seem to believe there is no war at all.
The symphonic rock-ballad City Of Strangers represents the cold sweat realization that the album’s central character has been imprisoning his mind based on the experiences of his younger self. The soulful pop-rock tune Long Way From Graceland represents a turning point of surrender — it’s a prayer asking God to meet him where he is, far from grace. From these transformative moments comes acceptance in the form of the Springsteen-style folk-rock song Just A Moment More. Seth’s opening lines on this song are raw and emotive, he sings: “Right in front of me / There’s a boy I’ll never be / He is wide open and free / And he can cry.”
Heartland is a melodic ode that pays tribute to the enchantment and untamed spirit of childhood. This musical narrative delves into the sibling bond and the liberty to embrace the world with youthful eyes. It underscores the resilience found in unity, a theme that resonates even in the realm of childhood, perhaps even more so.
All That Should Have Been was tracked at Robert Lang Studios (Alice In Chains, Nirvana, Foo Fighters), London Bridge Studios (Pearl Jam, Temple of The Dog, Mother Love Bone) and Electrokitty Studios (U2, Dave Matthews, Kendrick Lamar). The sessions boasted an audiophile’s dream of vintage gear, and exceptional contributions from mastering and mixing engineer Tom Hall (Blondie, Depeche Mode, Placebo), and longtime Heart drummer Ben Smith.
Check out All That Should Have Been below, watch some of Night Wilds’ videos above, and join them on their website, Facebook and Instagram.
