SCOWL’S HIGHLY ANTICIPATED RECORD ‘ARE WE ALL ANGELS’ BALANCES CHAOS AND CATHARSIS
Hardcore is ever-evolving, though purists would probably appreciate stagnancy. Or maybe they’d complain about that, too. Santa Cruz’s Scowl has seen a significant uptick in commercial success—quite literally appearing in Taco Bell commercials alongside scene frontrunners like Turnstile. Try as they might, pretentious hardcore elitists cannot take the group out of their Northern California DIY roots. Of course, they’ve played Coachella stages, but they recorded a music video for their new record at 924 Gilman St while pleading to play another show. They were on the same bill as Phoebe Bridgers but want to play a place with two bathroom options: “smelly” and “hopefully less smelly.” The buzz is nothing short of earned, with ‘Are We All Angels’ solidifying themselves in a relentlessly brutal scene to please. Perhaps the coolest part about Scowl is that they reject the motion to be agreeable. Instead, they make their music in its most authentic format.
Scowl’s sophomore LP certainly positions itself as melodic hardcore. There are far fewer guttural screams throughout, but that doesn’t mean the record loses the raw edge that Scowl is known for. Instead, they have transmuted that energy into something new. The opening track, “Special,” suggests the band is self-aware; they know what the critics are saying. Of course, there is pressure placed upon bands at this stage, but bonus points are given to women in hardcore who are simply trying to keep performing. Admittedly, I just compared them to Turnstile—but so did they, in the bridge of “Special,” unless I am losing it. However, if intentional, this nod is a genius way of saying that while there are similarities between the bands, Scowl stands tall without comparing itself to a group of men.
‘Are We All Angels’ acts as an expansion of Scowl’s signature sound. As a debut, ‘How Flowers Grow’ ferociously tackles hardcore with unwavering charisma. Their follow-up harnesses those elements, refining and redefining them effortlessly. Kat Moss’s vocal range is noticeably stronger, perhaps due to record label resources or more time spent practicing. Either way, she is a beacon of light for us altos of the world. Her range is deliciously sultry and venomously heavy, perfect for Scowl’s soundscape. Now, she blends her voice into infectious hooks (I’ve been singing “Hey, how high are you?” all day) with emotional gut-punches in each verse. Her confidence effortlessly inspires as she refrains from cheap imitation of those who came before her. Which, thank god, because she does not need to.
However, Scowl is anything but “going soft” or “selling out.” Those arbitrary terms don’t hold much weight when performers are capable in their own right. ‘Are We All Angels’ has an action-packed (quite literally…in the guitar strings…) B-side, full of gems for everyone who doesn’t have a giant stick up their a—. After all, hardcore wasn’t ever concerned with rigid definitions; that was the entire point of the genre. Songs like “Haunted” are heavy in their way. Those guitar tones are gritty, ear-splitting, and stunning. If anything, how Scowl doubled down for this LP is the hardest-core thing they could do. Perhaps it’s the elitists who have genuinely lost the way. ‘Are We All Angels’ has no skips.
Moss’s commanding presence seamlessly shifts between gliding vocal melodies and screams. The record’s emotional core is prominent throughout, showcasing a well-rounded band unafraid of experimentation. Moss’s defiance is palpable, making each track a cathartic listening experience. The themes in the LP represent a striking duality: confidence in the face of doubt, industry expectations, and dealing with the spotlight. Thankfully, the record doesn’t do much to discuss Moss’s relationships, except, perhaps, with herself. She didn’t necessarily reject criticism but instead recognized it as part of the territory. This level of innovation is refreshing to hear, a solid reminder that plenty of other topics are worth writing about.
The striking contrast between Moss’s internal monologue was most resonant. Everyone in the industry hopes to reach the moment that Scowl has. However, we fail to recognize its consequences, especially for those identifying as women. We’re constantly placed under a microscope unfairly compared to our CIS male counterparts. Hearing these struggles firsthand was, admittedly, refreshing. Moss breaks the fourth wall, with unreasonably clever composition guiding her thoughts. ‘Are We All Angels’ isn’t merely a collection of songs; it’s a testament to artistic integrity against all odds. What do you do when the people who brought you up want nothing but to tear you down? You hit the studio for Scowl and write a no-skips record, the ultimate middle finger.
The scene is full of hypocrites, but Scowl is not among that crowd. Instead, they allow evolution and continued deserved success while others proclaim them“sell-outs,” whatever that means. I anticipated ‘Are We All Angels’ to be in my top 3 records of 2025—and it did not disappoint. It may even be my favorite, though we are only in April. I’m a big fan of many polarizing artists and ecstatic to add Scowl to this roster. Sonically, thematically, and artistically, ‘Are We All Angels’ suggests that Scowl has reached their fullest potential and will only soar from here.