Several weeks back, Connor and I undertook the effort to discuss and dissect the latest LP, Reverie of the Revolving Diamond, from Orange County denizens Seizures. The two of us were quite disheveled during our recording as Connor just returned from a week-long road trip from the Bay Area to the outskirts of Las Vegas for technical lighting work and I merely lack the capacity to remain cognitively functional in late evening hours. However, the encroaching lethargy pushed our respective headspaces into a twilit limbo. And in a strange way, the palmy, sunset-hued riffs and the psychedelic shimmers streaming across Reverie‘s duration synchronized with our fleeting sense of reality while recording. The conversation eventually reached its natural conclusion, though for many weeks post-recording its atmosphere continued (and still continues) to linger. This resulted in a rather slow build-up of questions, curiosities, and the like, which culminated into a three-hour conversation between myself and Seizures vocalist, Cameron Miller.
Just over a decade ago Seizures cast their first stone, Antipathy. Boiling with vehemence, this succinct aural cudgeling castigates with angular riffs and scalding drum patterns, all while stifling your breath beneath a palatable atmosphere of unbridled animosity. A little over two years later came their sophomore effort, The Sanity Universal, which continued to harbor the berserk energy emanating from their debut; however, it marked a fascinating shift in the quintet’s sound. Instead of continuing to tread the familiar paths of chaotic hardcore, it embraces a multitude of experimental textures, tones, and riffs that promulgate a conceptual framework where we, the listeners, are ported to ethereal landscapes vaguely grasped in fleeting dreams. Cameron describes that this overarching narrative (or conceptual throughline) is meticulously woven and kneaded by guitarist Albert Navarro. And though each track and their respective sequencing do not necessarily conform to articulate a linear story, they all exist within the same universe.
With Reverie of the Revolving Diamond, Seizures careen full throttle into their celestial abyss. They plunge ever so deeply into its fabric, revealing to us vistas sublime and utterly harrowing. From the blissful serenity of “In a Valley of Twilit Meres” to the biting dissonance of “Toxophola”, we are chained to the quintet’s metaphorical vessel as they tear through a litany of tumultuous emotions.
In this conversation, Cameron discusses the trajectory of Seizures, from their earliest beginnings to where they are now. He describes their evolution in sound and their lyric writing process. There is also a good deal of time spent musing about his favorite band, Nine Inch Nails, his discovery of “obscene” music at a young age, his propensity to play N64 games, and so much more that I’ll refrain from rambling on any further. I sincerely hope you enjoy our exchange. Thank you so much for tuning in.
* * * * * *
You can stay in the loop about new developments from Seizures by following them on Facebook. If you’re keen on acquiring a physical copy of Reverie of the Revolving Diamond (LP), they have a handful left on their Bandcamp page. You can also stream Reverie in its entirety on any major streaming platform.
If you’d like to support us beyond listening to our podcast, you can do so by becoming a patron on our Patreon page. There you can read all of our notes for each album review episode we publish, gain early access to every episode before its official release, and acquire an embroidered From Corners Unknown patch, button, and stickers if that’s your thing. Thank you for your continued support.