Wired to Feel

Wired to Feel pulls together ten pieces where guitars and orchestral strings aren't fighting for space—they're actually saying something together. The collection started as a thought experiment: what happens when you take the weight and aggression of alternative metal and let violins, violas, cellos actually drive the emotional core instead of just sitting on top? The answer is messier, weirder, more honest than either sound alone.

“There's a thread running through these tracks about being caught between systems—technological, social, temporal.”

There's a thread running through these tracks about being caught between systems—technological, social, temporal. "AI Blindness" opens with distorted guitars that feel almost panicked, then orchestral strings come in like they're trying to find logic in the chaos. "Scripted Existence" leans into angular riffing and modal melodic work that feels deliberately unresolved, like you're stuck in someone else's narrative. Even "New Crowned King," which has the most straightforward crush to its rhythm section, uses those layered arrangements to ask what power actually feels like from the inside. The pacing shifts around—some tracks like "Now or Never" cut tight and urgent, others let modal scales and tremolo work stretch into longer passages where you actually sit with the discomfort.

The production stacks organic and electronic without choosing sides. String recordings live next to synth textures and distortion that's been shaped specifically to leave room for melodic content. "Lost in Time" shows this best, where the modal guitar work threads through the orchestration in ways that feel both heavy and almost fragile. What you're hearing across Wired to Feel is metal that trusts strings to carry real weight.