“Bury Both” doesn’t creep in; it lurks, carrying that cold Chicago Nu‑Beatdown energy that feels like a confrontation you’ve been avoiding. Scott McGinnis, Austin Allen, Nathaniel Scott, Dylan Greenhill, and Santana Salazar move as a unit here, pushing a sound that’s less about theatrics and more about raw intent. The track hits with that familiar Midwest weight: blunt, unfiltered, and emotionally charged. Every line feels like it’s coming from someone who’s finally done carrying what isn’t theirs anymore. As the song unfolds, the vocal delivery becomes the centerpiece of the tension. There’s a back‑and‑forth edge to it, not just two voices, but two versions of the same person calling each other out. It gives the track a psychological bite, the sense that you’re listening in on an internal reckoning rather than a performance. The pacing stays tight and hostile, never giving the listener a chance to settle, mirroring the emotional volatility at the heart of the lyrics.
What makes“Bury Both” hit harder is how grounded it feels. There’s no gloss, no attempt to soften the blow. The band leans into the ugliness of letting go: the resentment, the exhaustion, the clarity that comes only after you’ve hit your limit. By the time the track reaches its final moments, it feels less like a song ending and more like a door slamming shut on something that needed to die. “Bury Both” stands as a sharp, unflinching statement that is heavy in sound, heavier in intent. It’s the kind of track that doesn’t just vent frustration; it buries it, marks the grave, and walks away without looking back. A strong, gritty showing from Chicago’s Nu‑Beatdown scene, and a reminder of why DemsFightinWords hit as hard as they do.
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