When I first heard that Aaron Stainthorpe, the iconic voice behind MY DYING BRIDE, had released a new single with his 'death pop' project HIGH PARASITE, I couldn’t help but feel a mix of curiosity and nostalgia. Stainthorpe’s departure from MY DYING BRIDE last October was a seismic shift in the metal world, and Drag Me Under feels like both a farewell and a rebirth. What makes this particularly fascinating is how the track sits at the intersection of his gothic roots and a bold new direction. It’s not just a song; it’s a statement—a glimpse into what Stainthorpe might be leaving behind and what he’s reaching for next.
One thing that immediately stands out is the RAMMSTEIN-esque vibe bassist Danny 'Tombs' Lambert mentioned. It’s a departure from the doom-laden atmospherics of MY DYING BRIDE, yet it still carries Stainthorpe’s unmistakable gravitas. Personally, I think this shift is more than just a stylistic choice; it’s a declaration of artistic freedom. Stainthorpe has spent decades crafting a specific sound, and now he’s breaking free from those expectations. What this really suggests is that even legends feel the need to reinvent themselves—and that’s both inspiring and a little unsettling.
What many people don’t realize is how common it is for musicians to juggle multiple projects. Stainthorpe’s defense of his involvement in HIGH PARASITE—‘Literally every musician I know is in more than one band. It’s easy. Anyone can do it’—rings true. Yet, the backlash he faced highlights a deeper issue: fans often view bands as monoliths, not as collections of individuals with their own ambitions. If you take a step back and think about it, this tension between loyalty to a band and personal growth is a microcosm of the broader struggle artists face in any creative field.
The timing of Drag Me Under is also worth noting. Released alongside HIGH PARASITE’s first headline show in London, it feels like a strategic move to cement the band’s identity. From my perspective, this isn’t just about promoting a single; it’s about staking a claim in a crowded scene. The fact that the song was originally intended for their debut album, Forever We Burn, but held back, adds another layer of intrigue. Why wait? My guess is that Stainthorpe and company wanted to ensure the track had its own moment—a moment that wouldn’t be overshadowed by the album’s initial release.
A detail that I find especially interesting is Stainthorpe’s insistence that HIGH PARASITE never conflicted with MY DYING BRIDE. ‘You don’t sacrifice the main band for your smaller band,’ he said. But here’s the thing: even if there were no scheduling clashes, the emotional and creative energy required for two projects must be immense. This raises a deeper question: Can artists truly compartmentalize their passions, or does one endeavor always bleed into the other?
If we look at the broader trend, Stainthorpe’s move is part of a larger wave of metal veterans branching out. Gregor Mackintosh of PARADISE LOST producing Forever We Burn is a perfect example. These collaborations aren’t just about making music; they’re about building a legacy that extends beyond a single band. In my opinion, this is where the future of metal lies—not in rigid genres, but in the fluidity of artists pushing boundaries.
As for Drag Me Under itself, it’s a solid track, but it’s the context that makes it compelling. It’s not just a song; it’s a narrative about evolution, risk, and the courage to start anew. What this really suggests is that Stainthorpe isn’t just moving on—he’s moving forward. And if this is any indication of what’s to come, I’m all ears.
In the end, Drag Me Under isn’t just a single; it’s a manifesto. It’s Stainthorpe saying, ‘This is who I am now, and this is where I’m going.’ And personally, I think that’s the most exciting part. Because in a genre often defined by its past, Stainthorpe is reminding us that the future is unwritten—and that’s a story worth following.
