‘…incredible emotional weight, an undeniable and powerful sense of heart, and individual performances that are the best from everybody involved…’
Emerging around 2022, North Carolina’s Kerosene Heights have, in a relatively short amount of time, developed a strong cult following and a reputation for being a damn fine emo outfit. Their 2023 debut LP, ‘Southeast of Somewhere’, was a punchy and fun listen that offered two breakthrough singles: ‘Perfect Timing’ and ‘Kathryn’.
2024 followed this up with two EPs, one of which was a split with fellow emo outfit Swiss Army Wife, and the concept of slowing their ascent appears completely foreign to the four-piece. 2025 has marked the release of their second full-length record, ‘Blame It On The Weather’. Pulling influence from the destruction of Hurricane Helene, which struck the band’s home state of North Carolina, this is a record that contemplates remaining grounded in the wake of change, both on a personal level, and a wider level. The result is an album that sees Kerosene Heights achieving their finest work to date, and staking their claim to being one of the next big emo breakthrough outfits.
From the get-go, Kerosene Heights make it clear that they are seeking to craft their most expansive and weighty project to date, with the opening track ‘Sunsetting’ offering a superb opening to this band’s new era. It is truly an incredible, sweeping introductory piece that commences with soft electronic murmurs and shimmering guitars, and builds towards an explosive, raw, cinematic climax. Vocalist Chance Smith already sounds stronger than ever before, with embittered, ferocious screams in the back half of the track that crack with raw emotion.
‘Inside Baseball‘ makes for a truly a great emo anthem, with buoyant rhythms that are mixed perfectly, infectious melodies backed by lush harmonies, and guitar passages that alternate between chunky riffs and noodling melodies. Elle Tompson’s bass lines are a genuine delight to behold, carving out undeniable grooves that pair wonderfully with the sparkling guitar work of Justin Franklin. This continues to be the case on ‘Waste My Time‘; a rambunctious affair that once again shows off the album’s brilliant mixing. Benji Bennis’ drums pop with vibrant energy, whilst the bass lines sound rich and full, enabling Tompson’s gorgeously melodic approach to shine. The second verse in particular is gloriously put together, with snappy screamed backing vocals working perfectly in tandem with the bittersweet melodies of Smith.
On ‘Things Like Forever‘, a tender introduction opens up into a furious emo number that alternates between moments of sparseness and walls of stomping, bitter aggression. Smith puts on one of his most compelling vocal performances to date, with a ferocious directness about it that makes it feel intense, real, and intimate; you can truly feel Smith’s continued frustration towards himself, as the world changes around him yet he seems unable change in step. The brief brass addition is a glorious little moment of brightness in the midst of this weighty bitterness.
‘Love Spelt Backwards Is Love‘ perhaps captures the album’s musings on stagnancy most perfectly, with Smith feeling as though he hasn’t progressed artistically or personally. The lyrics are perhaps the most vulnerable across the record, and the ebb and flow of the instrumentals permits them to shine beautifully; muted yet driving when Smith takes the stage during the verses, before surging forwards into punchy, sweeping choruses. Title track ‘Blame It On The Weather‘ is a bright, bittersweet, jangly closing number that feels like the perfect credits scroll to this surprisingly cinematic record. The splashing, jittering percussion collides with wistful guitar noodling and the returning brass enables the album to close out in a summery celebration of emo goodness. Smith acknowledges that his growth is a continuing process, but doesn’t shy away from the necessary discomfort this can bring; change is difficult, but it wouldn’t be worth it if it was easy.
‘Blame It On The Weather‘ isn’t here to revolutionise emo. It’s not a record that heralds a new wave, or reinvents what listeners have come to expect from the scene. But it doesn’t try to be, and nor does it have to be. Instead, this is simply incredibly well performed and well crafted emo that carries incredible emotional weight, an undeniable and powerful sense of heart, and individual performances that are the best from everybody involved. This is the kind of record that doesn’t gain attention from being an avant-garde interpolation of tropes, but from being damn good.
This isn’t merely Kerosene Heights’ best record, but one of the finest emo records of 2025.
RATING: 84/100 – Very Good
For Fans Of: Michael Cera Palin, Arm’s Length,
Physical copies of the record are available to purchase from here.
Follow the band on social media below:
VINYL FANTASY REVIEWS 
Leave a comment