Formed in 2013 by musicians who met at Berklee College of Music in Boston, Dead Poet Society has built its own identity within alternative rock over the years, combining heavy riffs, catchy melodies, and an experimental approach that has become one of the band's main characteristics. The group consists of Jack Underkofler (vocals and guitar), Jack Collins (guitar), Will Goodroad (drums), and Dylan Brenner (bass).
After -!- (2021) and FISSION (2024), Dead Poet Society is preparing for a new phase with Monarch, their third studio album, to be released on October 2nd by Spinefarm Records. Produced by Paul Meany, known for his work with Mutemath, Twenty One Pilots and Pierce The Veil, and mixed by Adam Hawkins, the album features 12 tracks and once again explores the contrast between heaviness, melody, vulnerability and intensity that has accompanied the band's trajectory.
In an interview with Wikimetal, Jack Underkofler spoke about the creation of Monarch, the evolution of Dead Poet Society over the last few years, and their relationship with fans around the world. Jack also discussed a possibility that is of particular interest to the Brazilian audience: the desire to bring the Monarch to Brazil and finally perform here.
Wikimetal: You described Monarch as an attempt to “go deeper” into what defines Dead Poet Society. What did you discover about the band's identity during the creation of this album?
Jack Underkofler: I think this album really served to refine the band's identity, more than to discover it. Along the way, we've been assimilating things we do that truly define us—things that move us and elements we've always kept up our sleeve that made us think, "Wow." Or… "Is this too much? Is this too strange? Or is this too different?" Or something that awakened a peculiar emotion in us that we couldn't quite define. And I think, with this album, the goal was really to define what that is, to try to distill that essence and ensure that it shines through in its purest form in the recordings.
WM: “Miami For The Weekend” is the last track presented before the release of the new album, after “Roach”, “Sinner Systems” and “Cold”. Why were these songs chosen to introduce the album to the public and what do they reveal about the record?
JU: We chose these songs because we felt they showcased a lot of things that excited us—a lot of feelings that made us excited about this album. And… I think there are other songs just as good as these that we haven't released yet and that will come out with the full album. It wasn't a matter of just choosing songs to… You know, I see a lot of albums where they release the best tracks as singles, and when the whole album comes out, it ends up taking a backseat. But in this case, there are a lot of songs here that I'm very, very, very excited about that haven't been released yet. But those particular songs simply showed where we were and where we are now.
WM: The album explores the contrast between heaviness and melody, vulnerability and intensity quite a bit. Did you consciously seek this balance, or did it emerge naturally during the songwriting process?
JU: It kind of happens naturally with us. Someone once said we were the “heaviest band without being heavy” they’d ever heard. And I think that’s a good definition for us: it’s like we never lean too much to one side, because that can end up becoming a cliché. You don’t want to put things in the songs just because they’re “cool.” You want to see what the emotion demands. We don’t like to focus excessively on just one thing; we like to use sounds as tools, not as defining blocks like “this is what this genre does.”
Relationship with the Brazilian audience and a possible show in the country
WM: Dead Poet Society has already built a fanbase in different parts of the world. How do you see Brazil within this scenario?
JU: I see them as all our fans. They… it’s really cool to be able to write something in your room or in the studio, talking about how you feel or something that’s happening in your life, and then see someone in Brazil saying, “I feel the same way.” It’s such a profound experience, something very, very human and all-encompassing—and even comforting—to know that, no matter where you are in the world, there are people who feel the same way you do. We call that a “fan base.” But I think… I mean, I think “fan base” is kind of a mechanical way of describing it. It’s just the term we ended up adopting. But it’s a cool experience, it’s really awesome to have fans there in Brazil. It’s fun!
WM: Is there a possibility of bringing the Monarch era to shows here? What do you expect from the Brazilian audience?
JU: There's a chance. There's a possibility… We're still trying to figure out a way to go, but we're working on it and one day it will work out. I don't really have any specific expectations. Just come and have fun. That's my expectation: that you'll be there. And if we put on a great show, I hope you'll have a good time.
WM: From -!- and FISSION to Monarch, a lot has changed for Dead Poet Society. If you could talk to the band at the beginning of their career, what advice would you give those four musicians?
JU: Don't overthink it. Try to take the excess of rationalization out of the music. Just listen to your intuition; if you feel bored, work on it and make that part of the music more exciting. If you don't feel a real connection with something, work on it more or discard it and try a new idea. Try not to overthink things, because overthinking can make you ignore your intuition. You might end up convincing yourselves that something is good when it isn't, or that you feel something when you don't. That's it.
WM: Can you leave a message for your Brazilian fans?
JU: Thank you for everything. Thank you for listening to us. I think it's incredible that you feel what we feel, and I hope that one day we can share this in person.
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