Landon Tewers, frontman of metalcore outfit The Plot In You, has returned with another solo album, following up 2016’s ‘Dynamite’ with further insight into the dark side of his mind across an emotion-heavy nine tracks.
Like its predecessor, ‘Withdrawals’ veers towards an eclectic sound that combines many elements, leaning heavily towards a dark electronica-meets-R&B tone that really hammers home on the sinister notes.
‘Threatening’ and ‘Touched Your Skin’ are almost like two intro tracks; they pull you in with twisted, crawling melodies, creating a pressing tension, with Tewers‘ softer notes contrasting the occasional burst of harsh screams over sparse, bassy synths. It’s impressive how Tewers is able to create the element of heavy music in a non-typical fashion (with some choices on the record often being brilliantly batshit crazy), and his experimentation with the electronic genre being greatly intriguing to listen to.
‘Never Whole’, ‘Brush Street’, and ‘I Don’t Wanna Be The One That Let You Go’ offer the most straightforward musical choices on the record, and are notably the tracks which have the most melodic and memorable choruses. Across ‘Withdrawals’, Tewers seems capable of striking a balance between constructing complex, intricate pieces that aren’t reliant on being overly melodic, and simultaneously interjecting those tracks with ones like the aforementioned, which favour melodies and bigger choruses, and yet still fit the experimental theme of the record.
‘She Thinks Of Me’ is almightily arrogant, as Tewers chuckles “She thinks of me when she’s fucking you / I run this shit and you know it’s true”, yet, even that feels like an intended persona, with the song closing as he gets into his stride before gunshot sound effects enter. An audience boos, and Tewers‘ self-awareness becomes apparent when he utters: “Alright, yeah, I get it. The gunshots? Too far, too far, okay, okay, I’ll stop the song now.”
Other than that number, Tewers lyrics tend to focus on his inner psyche, and offer a quite open reflection of his mental state. Whether that’s him stating that he “feel[s] like [he’s] never whole” (‘Never Whole’), the croaking “tell me have I gone too far?” that almost sees him burst into tears (‘Brush Street’), or the “I’m so fucking manic” of ‘Touched Your Skin’, Tewers is again unafraid of frank honesty.
Tewers showcases himself on ‘Withdrawals’, again, as an incredibly varied songwriter, and one who’s able to convey a great deal of emotion of spangled and spliced electronic textures.