Since I last spoke to them, Lighterless have come into their own. After releasing two singles earlier this year, their return to the studio was even more fruitful. Set to release at the end of this year, the impending five-track EP offers a more in-depth look into their ethos as a band, taking a no-holds-barred approach to talking about issues around the world.

Both the name of the opening track and the first word of the EP’s title leave no room for interpretation, drawing inspiration from a political term used for Soviet propaganda in the 1980s. The title, Agitprop of America, is written in bright red block letters on the wall behind the band’s heads, staring me down throughout the interview. It isn't afraid to be bold, calling back to its roots in both sound and aesthetic. “It’s hard to say ‘aesthetic’ when it’s such a serious topic, but it’s very eye-catching. [Adding ‘of America’ to a concept tied to communist Russia] draws parallels that people might be uncomfortable to talk about,” says frontman Zach Lamb. However, the same factors that make the EP stand out are also what make it hard to market. Drummer Avalon Vallejo explains that, “Music is how we get things out and how we get people to listen, and it has to be catchy and something that people will want to listen to. It has to be aesthetically pleasing, but it is dealing with serious topics. We’ve been trying to figure out how to work about that sensitively, and not try [to] just [promote] our work.” There are challenges that come along with making art about current events, including the wars in both Ukraine and Gaza, but the band is determined to do what they can to raise awareness. 

As a Polish immigrant, Lamb notes that the conflict in Ukraine is of particular interest. On the track “Just a War,” he delves into the fact that he doesn’t feel the same distance from the war as the average American. He explains, “It's really big for me personally because it’s right next to home, and it’s really interesting to write about it from Raymore, Missouri. Location has always had a really big impact on my writing, [even from when I was little].” Lamb’s own identity makes his view on politics that much more complex. “It’s strange, because at this point I think I know American politics better than UK or Polish politics. Growing up I was told ‘you don’t get a say in this country, you’re not from here’ and now it’s my life’s mission to know more than every Republican,” he says with a laugh. “Honestly, coming [to America] feels like a downgrade. [People here] don’t see anything except their own wellbeing, it’s upsetting.” Vallejo adds that “[Zach’s] definitely taken less seriously [as an immigrant] because it’s like ‘how are you going to talk about America when you’re not even from here?’ [even though] he’s been living here for six years.” The band aims to harness these same lived experiences and interest in politics to make a positive impact on their viewers, alongside offering an easy way to start learning about global issues. As Gerard Way once said, “art is the weapon.”

The sounds of the album carry just as much weight as the messages behind it. With the tracklist consisting of mostly new songs, there was plenty of room to experiment. Both members agree that entering the studio was less daunting the second time around. Lamb says, “I had a lot more fun, and we got a lot more done,” and Vallejo chimes in, “Yeah, it was definitely different. We knew what to expect.” Even though the atmosphere was more relaxed, the band still mentions that there was pressure to be perfect. “I would change a lot in hindsight, but I am very proud of [the EP]. I think this is the best thing that I’ve ever made,” says Lamb. “I [would have] done more vocal takes, but I’m sick of annoying Gordon Raphael and Avalon and everyone in the studio.” Despite what he would say, the perceived ‘weak spots’ on the EP are actually some of the strongest in my opinion. Vallejo affirms this, anticipating that the deeply personal “Live to Deprive” will be the fan favourite regardless of Lamb’s dislike for the vocals on the track. Acting as the sibling to the single “Paradigm,” the song offers a different, heavier emotion. It plays into the depressing nostalgia of Blink-182’s “Adam’s Song” and Fall Out Boy’s “What A Catch, Donnie” without feeling copycat, combining a wall of distortion and pounding drums with gut-wrenching lyrics that effortlessly call back to the early aughts.

Despite some back and forth, both singles did end up making the tracklist. “Originally we were just going to do new songs, but we didn’t have the money or time to [make that happen]. Putting ‘Paradigm’ on there was definitely [an on-and-off decision],” says Lamb. Vallejo adds, “it sounds silly, but we wrote out all the names just to see how it would look.” While “Agitprop” follows in the footsteps of “Blood Sports”, Lambs feels that the former is stronger than the latter. “We tried to use the same equipment [on both tracks] to try and keep the same fluid sound throughout the whole EP, but “Agitprop” is more of us exploring what we can do with our sound,” he explains. While the influences remain mostly the same throughout the EP, the addition of Spanish-style flamenco guitar was an important shift for Vallejo. He says, “That’s a part of my culture, and you see Pierce The Veil incorporate some of that. They’re one of my favourite bands, and so that’s something I wanted to [do too].” The band also cite Muse and The Voidz as other inspirations, especially in terms of synth. This is most audible on the aforementioned interlude “Just a War”, which features producer Gordon Raphael heavily. Lamb points out, “Gordon did a lot of [that track], the whole ending is just him. We said ‘Gordon, we’re giving you free reign,’ and he said, ‘I can see the vision.’” Clearly, the band continues to grow as their career continues, refusing to remain static with their art. 

Agitprop of America marks a new chapter for Lighterless, acting as a gateway to an album that is already in the works. While their sound might be ever-changing, their staunch politics and desire to educate their growing fanbase aren’t going anywhere. The duo are bastions of what mixing art and activism looks like in the modern age. It doesn’t hurt that their music is great, either