Genres

Paper Monarchs blends Alt‑Rock, Pop‑Rock, and Nu‑Metal as its core foundation, reinforced by the grit of post‑grunge, the mechanical edge of industrial rock, and the atmosphere of cinematic scoring. Our sound moves between heavy low‑tuned riffs, melodic hooks, and ambient tension. Though we focus on Jungian vibes in the structure, we explore a rich mix of genres built for emotional impact and modern rock energy outside our core sound as well.

Themes

Paper Monarchs explores the pressure points of modern life through aspects such as identity, conflict, mental health, and even the quiet moments where people decide who they’re going to be next. Our songs deal with the weight of expectation, the tension between who we are and who we’re trying to become, and the resilience it takes to keep moving when everything feels unstable. We write about psychological strain, personal reinvention, and the kind of emotional honesty that hits harder than volume ever could.
 

Even when the stories are abstract or symbolic, the core stays the same: confronting the things we carry, the things we avoid, and the things we’re still learning to let go of. Our goal is to make every track feel like a moment someone has lived through, even if they’ve never said it out loud.

Creative Process

Every Paper Monarchs track starts with Andrew drafting a working version with structure, lyrics, and the initial emotional direction. Once the draft is in place, the work is considered "designated" and sent off to Max Darke who steps in to audit the flow, delivery, and vocal pacing, offering adjustments that shape how the song will actually feel when performed, working with other members of the band as needed.

After this, Max submits his conclusion on behalf of the band back to Andrew where the song enters secondary editing before being "re-designated" back to Mr. Darke, who then organizes the band to experiment and demo with different tempos, styles, and rhythmic approaches to see what brings the idea to life through trial performance.
 

From those experiments, the band, under Mr. Darke, will narrow the song down to no more than three strong variants. Under Darke's leadership, those versions may be further refined, tested, and compared until the group reaches a final recommendation that is sent back to Andrew. Here, unless the Manager veto's and sends it back at this stage for "reconsideration;" the track is considered approved by collective consensus through the recommendation itself. If a track is vetoed and comes back again as a final recommendation (edited or not), then the Manager must declare the track approved or tabled (suspended). There the track is put on halt until it is un-tabled by the group for further "reconsideration."