REVIEW: deathdotgov - deathdotcom

This sure doesn't feel like a debut.

39:56 // July 4, 2025 // Independent

Supergroups have always fascinated me. Of course, you have your well known supergroups like Audioslave or Velvet Revolver, but I’ve always been more intrigued with the smaller supergroups. You know, the ones that have experienced musicians in smaller scenes that come together to make their own project. Oftentimes, you’ll never even notice that they could be considered a “supergroup,” but you can just tell by their music that they know what they are doing. This is the case with deathdotgov. Hailing out of the Phoenix area, the band is comprised of musicians that have all had experience in other gigs prior to joining this project. Even if you hadn’t known this, you’d be able to hear their experience and talents instantaneously.

deathdotcom is all over the place. Typically, that makes an album hard to follow or clunky, especially if it’s a band’s debut, but quite the opposite takes place here. deathdotgov’s versatility is on full display from track to track, tackling a multitude of genres and styles in a seamless manner. With the release of their debut single “The Observer,” they flexed their post-punk influence with a bit of noise rock tinge by shifting from a crescendo scaling riff and a melody centric chorus, blending their melodies with their abrasiveness from the onset. “Noisedotgov” and “Froth” dig deep into metalcore with an emphasis on punchy riffs full of chugging and dissonance, featuring massive choruses that are amplified by arpeggiated guitar chords and powerful vocals. The bass driven “Magic Guns” and “Tweak” give more of a groovy feel, the former sounding like a sasscore influenced jam that is catchy and dancey, with the latter dipping into bouncy rhythms that are simultaneously aggressive and infectious. Even a track like “Laces” deviates from the more aggressive sounds of the record and opts for a more laid back, shoegazey approach with a chorus that is accentuated by reverb-laden guitar leads and soaring clean vocals.

I could go on and on about the versatility of deathdotcom, but the most striking aspect of the album is just how strong each member of deathdotgov is at their respective instrument. Each member plays a vital role and has their moment in the spotlight, yet they all work together without one overpowering the other. Throughout the record, Colton “Coba” Westerman showcases his range, seamlessly shifting from impressive clean vocals on massive sounding choruses to higher pitched screams that match the intensity of the instrumentation. Though never going overboard with technicality or speed, the chemistry between guitarists Dylan Ewing and John Bacino leads to a fantastic balance of riffing and melodic progressions, allowing them both to build off each other with their own guitar leads or fills that span across a wide variety of styles and genres. Michael Brooker’s basslines not only complement the guitar work, but they also guide many of the songs, taking hold of the melody and driving the groove throughout deathdotcom. And to tie it all together, Meghan Herring’s drum chops provide just the right amount of flow while also showcasing her talents through a variety of fills and offbeat rhythms that add to the musicianship of the band. Even the featured saxophonists Chris Marchant, Tyler Basich, and Jonathan Angeles add their own flourishes to the music, providing an extra layer of depth to the songwriting that adds to the album’s versatility. With all of their experience in the music scene, each member brings their own unique style to the forefront, providing not only a well crafted album, but an experience that traverses through a wide array of genres and styles that bring you back to each song for its own unique take.

This might be a debut, but it sure doesn’t feel like it. Each track is crafted with care, and there is not a single skip on the record. As I said before, deathdotcom is all over the place, but that’s exactly why it’s so good. Though there is a lot of diversity in the styles and genres represented, the band still establishes its own sound that keeps it grounded without feeling like a band searching for an identity. It is clear the band is built upon a foundation of seasoned veterans that all bring their taste to the table, and each member’s taste and talents are well represented throughout deathdotcom. If this is only just the beginning of deathdotgov, I can’t wait to see where they go next.

9.5/10