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Loathe is a challenging listen. In 10 years, they’ve released three dissimilar albums, a pair of pulverizing EPs, and a couple reinventive, collaborative covers (with Sleep Token and Teenage Wrist) of their own material, proving they thrive on juxtaposition and keeping your ears off guard. The Liverpool foursome morph from blissful dream state to Nightmare on Elm Street and everything in between. Their sound can be familiar like an old friend but thrilling like a first date.

From the ashes of Our Imbalance’s pure metalcore madness—featuring guitarist/vocalist Erik Bickerstaffe, vocalist Kadeem France, and drummer Sean Radcliffe before recruiting guitarist Connor Sweeney and bassist Shayne Smith—rose the reformation that became the experimental Loathe in 2014. (Current bassist Feisal El-Khazragi replaced Smith in 2018 and Sweeney left the band in 2021.)

Nu-metal bounce, djent precision, shoegaze shimmer, post-hardcore chaos, synth segues, barbwire breakdowns, moody melodies, and singalong choruses aren’t groundbreaking elements. But how they make them gel and grate against each other is what makes Loathe special. In a matter of minutes, they can make you scream, cry, and then dance before inciting you to do all three at once. The difference is in the disparate.

Their creative applications of the past, present, and future keep them ahead of the audience providing a deep musical menu. If you don’t like the first Loathe song you hear, there’s a chance the next one will be your favorite.

“The four of us have very differing influences, but when we work together, we create something very unique,” contends Bickerstaffe.

Even Bickerstaffe’s guitar choices are at odds. He wants the heaviest sound possible but avoids using 7- or 8-string guitars because of their brash tones and jagged aesthetics. He prefers to swing the sledgehammer in a classic costume of a Gretsch Jet (and formerly a Jazzmaster).

“We wanted a British-rock sound that pushes further into modern extreme-metal influence when we were writing. I don’t like anything too metallic or sharp sounding. For the band we are and what we’re trying to do musically, it’s not the right thing,” states Bickerstaffe.

It’s been over four years since their heralded I Let It In and It Took Everything, and the fans are growing impatient. The band is aware of the wait and are concerned with impressing themselves rather than capitalizing on the attention.

“There’s music in the world the four of us as individuals miss hearing, and we want to be the people that create that in our own style. Hopefully, people who agree with us are along for the ride, and if not, that’s absolutely cool. We’ve been through a lot, and we’re working really hard together to make sure the music that we put out is exactly what we want to put out. We’ll let it speak for itself when we release it,” explains Bickerstaffe.

Before Loathe’s opening slot supporting Knocked Loose on May 1 at Nashville’s Marathon Music Works, Bickerstaffe carved out some time to talk with PG’s Chris Kies. Bickerstaffe details the obtainable instruments that help him deliver both deathly and dreamy moments, why he shies away from the metallic edges of metal, and what fans should expect from the ever-evolving outfit’s new music.

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[Brought to you by D’Addario Strings: [ Ссылка ] & D'Addario XPND: [ Ссылка ]]

0:00 - D'Addario & Yvette Young
0:15 - Chris Kies Intro
1:44 - Erik Bickerstaffe Intro
3:01 - Gretsch G5260 Electromatic Jet Baritone
5:59 - Erik Bickerstaffe's Guitar Influences
8:36 - Erik Bickerstaffe's Strings & Tunings
11:55 - D'Addario XPND & John Bohlinger
12:45 - Amps & Fractal Audio Axe-Fx III
17:14 - Erik Bickerstaffe's Pedalboard
21:06 - Loathe's Next Album
23:06 - D'Addario & Yvette Young

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