Just yesterday (October 16), Scotty Seed released his sophomore album, Hallow’s Eve, an 11-track collection of music fusing together elements of pop, rock, and electronic/dubstep.

Based in the New York City area, Scotty grew up listening to pop music from artists like Britney Spears, Justin Timberlake, Cher, and Ricky Martin. By the time he was six-years-old, Scotty was studying classical piano, leading to becoming a piano entertainer for 10 years at Steinway & Sons’ Festival of Young Piano Performers.

Beset by identity issues in his teens, Scotty delved into fashion, art, and music with abandon. Initially interested in classic rock, classical, and Broadway tunes, he later discovered witch house, grunge, bubblegum pop, and screamo, all of which he began exploring.

Captivated by music and the music industry, he began studying voice with Katie Agresta, known for her work with Cyndi Lauper and Bon Jovi. One thing led to another, and before long he was writing his own songs, learning the intricacies of production, and further developing his own sound.

Inspired and influenced by the innovative music of David Bowie, Marilyn Manson, Madonna, and Depeche Mode, Scotty merged the sounds and styles from the past, present, and future. Diagnosed with bipolar depression, he’s an ardent advocate for mental health and LGBTQ+, using his music to liberate himself and others from outside cultural constraints.

Hallow’s Eve opens with a short intro, entitled “Intro: I Can Live,” followed by the title track, which surges with psychedelic coloration topped by dreamy, powerful vocals, and then rolls into an industrial rock-flavored tune stark and eerie.

Highlights include “The Mask,” featuring throbbing EDM rhythmic impetus combined with swirling, twirling breakdowns flowing into a combination of new wave savors riding heady EDM propulsion. “Villain” travels on wafting tones supported by a muscular trap rhythm as Scotty’s filtered, imminent vocals glide overhead, filling the lyrics with ominous aromas.

“Pig” opens on dirty, snarling rock guitars segueing into a dark, phantasmagoric melody reminiscent of Rob Zombie or Marilyn Manson. The final track, “I Smell Blood,” spills out black, searing timbres of rock-trap, oscillating on cavernous energy, while spine-chilling vocals pervade the lyrics with proximate malevolence.

Both pioneering and wickedly alluring, on Hallow’s Eve, Scotty Seed pumps out chilling amalgamations of avant-garde/industrial rock tangs.

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