Welcome to Episode 234
Today we are joined by Pop Evil’s vocalist Leigh Kakaty
U.S. Modern rock powerhouse POP EVIL have just proudly released their eighth album WHAT REMAINS, via MNRK! The massive new album is their 8th overall and the ban still dominate the US Active Rock charts
The band made up of Kakaty, guitarists Dave Grahs and Nick Fuelling, bassist Joey “Chicago” Walser, and drummer Blake Allison.
Pop Evil were born in North Muskegon, Michigan in 2001, Kakaty drawing on the lessons of a youth first shaped not by music, but by high school basketball — leadership, team work, the drive to improve in the lonely hours put in at the gym at 5am, the will to win suppressing any fear — in order to fight tooth and nail for their break-out moment.
What Remains is the culmination and story of this journey with Pop Evil, laid bare like never before. Continuing in the recent vein of 2023’s acclaimed Skeletons, the new opus is both sonically and thematically Pop Evil’s heaviest ever offering; a thundering collection of arena-ready modern rock and metal hits in which Kakaty opens heart, mind, and soul.
Lipstick on the Mirror, their 2008 debut, and its follow-up, War of Angels, brought acclaim and global attention; 2013’s Onyx delivered the first of the band’s nine No.1 singles and six RIAA-certified gold and platinum plaques, but also a period of darkness brought on by the grief of Kakaty losing his father. “I was completely lost … I had just missed the last five years with my dad, chasing this dream when I could have been with him. I didn’t know if I wanted or could do Pop Evil anymore,” he says. The band’’s 2017 self-titled album, opened by the smash-hit “Waking Lions” was written “pretty much to save my life” – but in turn “reminded me of the fire I have inside, and that God put me here to make music that could help people.”
It’s a mission statement enshrined in Pop Evil to this day — and which provided the spark for the genesis of What Remains.
Sonically, the album is a riotous explosion of life-affirming noise; a vortex of scything riffs and gut-punch drum beats that regularly give way to Pop Evil’s hallmark anthemic choruses. “We set out to push boundaries,” nods Kakaty. “Metal has always been a part of our DNA, but we’ve never made it such a focal point before. A lot of writing on this record has been about listening to what my soul is saying and letting the songs find their own path, rather than chasing a sound that might fit in on the radio. I think you can really hear the mood and emotion of the album’s themes in the music.”
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