Individuals diagnosed with the neurological condition known as “Mirror-touch synesthesia”will experience a physical sensation upon witnessing any kind of touch or contact experienced by another person. Essentially, you undergo similar or inverse sensations as the person whom you’re observing(even without any direct contact). 15 years into their career, Volumes have weathered ups, downs, time, trends, and everything else life could throw at them only to come out stronger on the other side. Against all odds, a devout audience has ridden shotgun and grown with them every step of the way.This symbiotic relationship speaks to the band’s quiet impact with over 167 million streams in the United States alone, widespread acclaim, and sold-out shows. Now, the Los Angeles group—Michael Barr [vocals], Raad Soudani [bass], Myke Terry [vocals], and Nick Ursich [drums]—continues to fortify a full-on sensory assault with thick riffing, chilling soundscapes, and the venomous bite of its incomparable two-headed vocal hydra. For as much as Volumes’s fifth full-length LP, Mirror Touch[Fearless Records]is for them, it’s also for those fans… “If you have ‘Mirror-touch synesthesia’, you can feel other people’s pain,” elaborates Barr. “It’s not just emotional; it’s physical. It lines up with the community we’ve built. Our fans have gone through all of the motions with us and stuck by our side all of these years. We feel each other’s pain in the same way. We’re all in this together.” Volumes have loudly carved out their own corner of heavy music with an inimitable hybrid of head-crushing polyrhythmic prog-spiked metal, hardcore spirit, and unbridled attitude. They have assuredly leveled up over the course of albums such as Via[2011], No Sleep[2014], Different Animals[2017], and Happier?[2021]. KERRANG!hailed the latter as “an album that gives a nod to the band’s past while still bringing in new ideas.”Meanwhile, the group shared stages on tour with everyone from Ice Nine Kills and Born of Osiris to Dance Gavin Dance and Counterparts. During a series of 2024 sessions, the band carefully assembled Mirror Touch with Raad and longtime collaborator Daniel Braunstein behind the board as co-producers. This time around, they nodded to seminal influences such as The Chariot and The Bled, upping the intensity in the process. “For this album, we brought back Daniel who was one of our original guitarists to produce,” says Raad. “In that sense, it feels like a true Volumes record. Everyone involved has been part of the band at some point. There aren’t ten outside producers.  Instead, it’s just us. We’re keeping it in the family. Working with Daniel is like reuniting with a long-lost dad who knows exactly how to push you, because he helped shape who you are. He gave me the confidence to trust my instincts, stop overthinking, and lean into what I know Volumes should sound like.” “We wanted the tones to be less clean and more distorted both vocally and instrumentally,” notes Barr. “It was less conceptual overall and more intentional.” They initially bulldozed the way for the record with “Sidewinder.”It practically exploded on impact as Revolver raved, “The song is a juggernaut of djent-quaked rhythmic severity, replete with hard-howled, bitter-hearted lyrics about fakes, snakes and suffering.” Elsewhere, cavernous synth swells give way to a bouncy groove on the single “S.O.A.P.” Vicious verses weigh heavy on the jackhammering riff until a clean chorus takes hold, “Your color I can taste.”Notes squeal like sirens over the distortion on the breakdown. “It’s probably the sexiest Volumes song ever,” laughs Barr. “The energy is dark. We tried to delve into the sinister side life. It’s a tongue-in-cheek way of saying you want something, but you know it’s bad for you. It’s a mature and fun track. “Bad Habit” hinges on a detuned chug accented by neon keys. Vulnerability bleeds through lines like, “I know that I should give it up, but tonight I’m holding on.” The hypnotic hook instantly transfixes. “It’s a shameless pop song,” Barr adds. “We know wecan push forward into an even bigger stratosphere. It’s both an anthem and a statement.” Then, there’s “Adrenaline.” It showcases another side of the band altogether, unfolding as a stark display of emotion projected in the form of tender vocals and warm instrumentation.The breathless refrain remains raw and relatable, “I wait until the sun goes down, let the silence drown me out again, and even when I lose myself, you pull me back again…still running on adrenaline.” “It’s basically about living life and always playing catch up,” Barr reveals. “It’s a window into the moments where you’re extremely lost, but you might have a counterpart or significant other who keeps you going. You know you’re tethered to this individual who means everything to you. It’s not necessarily a love song; it’s an emotional song.” The finale “Suffer On” [feat. Black Sheep Wall]storms out of the gate on double kick percussion and face-melting riffs. Uniting with Black Sheep Wall’s Brandon Gillichbauer and Trae Malone makes it a full circle moment. “We’ve been close with Black Sheep Wall for at least 15 years,” Barr continues. “They’re from our local venue in Woodland Hills. We will suffer on. We have to. We have no choice. It definitely speaks to what the band has been through with all of the changes. There’s a lot of angst on it, but the song means so much to us.” “It’s my favorite,” smiles Raad. “It’s the heaviest track on the album, and we approached with the same mindset we had during the Viaera, packing 100 riffs into one song and somehow making it work. It’s classic Volumes.” Ultimately, the connection between Volumes and their listeners will only become stronger with Mirror Touch. “I want people to feel these songs, find comfort in them, connect with them, and let them live,” states Raad. “If this album can be a part of someone’s life in the way my favorite music has been for me, we did our job.” “Beyond being a band or a business, Volumes is family,” Barrleaves off. “We are like brothers,and the experiences we have shared are one of a kind. There have been so many individuals who haveshaped what Volumes is today. Aftereverything, what always keeps me coming back is realizing the impact we’ve had in our community. This is my life.”