Arson Charge’s debut album A Dying Light isn’t just another heavy record — it’s a raw, unfiltered dive into the gut-punch realities of trauma, pain, disconnection, and self-reconstruction. Formed from the ashes of Denver bands like Native Daughters, Chieftain, and Love Me Destroyer, and fronted by comedian and SPELLS vocalist Ben Roy, the band channels an emotional intensity that’s both brutal and deeply personal.

We sat down with Ben to talk about what fueled A Dying Light, the Denver scene that birthed them, the gear behind the grind, and — most importantly — where they’d play a surprise set in a grocery store.

“A Dying Light” is a brutal, emotional dive into themes like pain, disconnection, and loss. Was there a central experience or moment that unified the band around this album’s emotional direction?

Ben: I don’t think there was one coherent, unified experience amongst all of us. We were all going through various shit when we started writing. Justin (guitarist) had serious health issues that sidelined him. I’ve been untangling some childhood trauma. Others were dealing with breakups or work stuff… just life. I think we all needed this outlet.

Arson Charge brings together members from Native Daughters, Chieftain, and Love Me Destroyer. How did those different musical backgrounds influence the songwriting and recording process?

Ben: I’m not sure a lot of people outside Denver know those bands, but they’re all pretty different. We all brought our own tastes to the table, but we didn’t argue much. We trusted each other’s instincts. What came out feels representative of all of us — without sounding scattered.

You bring a unique background as a comedian and frontman for SPELLS. How does that energy translate into a project as intense and dark as Arson Charge?

Ben: Honestly, my stand-up tends to be dark too. I’ve been in bands since I was 15. Comedy just took off first. But music has always been my first love, and returning to metal/hardcore is like coming home. I was a pretty angry kid. This music still speaks to me.

Tracks like “For The Damned” and “A New Throne” feel both unrelenting and emotionally layered. How do you balance aggression and vulnerability in your writing and performances?

Ben: That’s a tough one. I’ve been writing lyrics since I was a teenager — it’s how I process heavy emotion. I just try to be honest, even if it means taking a hard look at myself.

“For The Damned” is about my experience growing up Catholic and abuse I faced under the Church’s care. If you’ve been there, you know how close guilt and shame are to the surface. Holding it back is harder than letting it out.

“A New Throne” is about realizing I’ve stayed in shit situations because I didn’t think I deserved better. It’s about fighting that voice and walking away — even if it means being alone — to rebuild something healthier. It’s hard. But necessary.

The Denver metal scene has birthed some powerful acts. What is it about that community that pushes bands like Arson Charge to carve out something so massive?

Ben: Denver has always had this underrated scene. For a long time, it was just a flyover city. But it’s the kind of place where this stuff thrives — you’re surrounded by mountains and open space, and there’s not a ton of industry, so people make shit because there’s nothing else to do.

We make music for the crowd — not for labels or clout. One band levels up, others try to push harder. It’s a rising tide. That’s how the comedy scene here blew up too. Just riffs and jokes. No bullshit.

From thrash riffs to hardcore breakdowns, the tones on A Dying Light are relentless. Can you walk us through the gear setup that helped shape the record?

Ben: Felipe at Green Door Recording has this killer setup that lets us switch between speaker cabs and amps fast. My tone came from V30 speakers, a 1998 Mesa Boogie Dual Rectifier with EL34s, and a Marshall JCM 800. I mostly used Seymour Duncan JB or Invader pickups on the bridge.

Dave used a different ‘98 Dual Rec with 6L6s and a Mesa Mark IV, with a Pegasus pickup. There are a minimum of 4 guitars on every song.

When it came to EQ and mastering, I wanted tones like Terry Date’s stuff — Around the Fur, Far Beyond Driven, even Hum’s Inlet. I’ve been chasing that tone my whole life.

Oh, and drums? Drummers are stupid. (laughs)

How do you see the pros and cons of streaming services impacting new bands like Arson Charge — especially in terms of exposure vs. sustainability?

Ben: Damn. It’s a double-edged sword. We’re all getting screwed, and we know it. I wish we could all just tell the streamers to eat our asses. Feels like we’re waiting for the signal, you know?

We’re on streamers, sure — but we push Bandcamp and physical records whenever possible. That’s where people can actually support us.

If Arson Charge had to play a surprise set inside a grocery store (like Cleanup on Aisle 10 actually happened), which aisle would you unleash your set in — and what would be the first item you’d smash?

Ben: YES! Finally, the important stuff. Definitely the condiment aisle — pure chaos. So many glass jars. Imagine launching Grey Poupon into the cereal aisle like grenades. And a mayo bomb? One of those massive Hellman’s tubs? Into the egg cooler? That’s art. That’s where we’d start. No question.

A Dying Light isn’t just an album — it’s a bloodletting, a purge, and a declaration of purpose. Arson Charge has crafted something brutal, honest, and unshakably human. Whether you’re in it for the riffs, the catharsis, or the condiment aisle carnage, this band demands your full attention.

Just remember: if you’re feeling broken, you’re not alone — and sometimes the loudest scream is the most healing sound of all.

Album Release Date: October 3, 2025 Pre-Order A Dying Light: ArsonChargeMerch.com

Categories: Arson Charge, Interviews

Tags: Arson Charge