{"id":39519,"date":"2026-03-25T08:26:52","date_gmt":"2026-03-25T13:26:52","guid":{"rendered":"https:\/\/kjagradio.com\/themic\/?p=39519"},"modified":"2026-03-25T08:26:52","modified_gmt":"2026-03-25T13:26:52","slug":"pathos-logos-reimagine-nirvanas-classic-with-new-single-in-bloom-out-december-17","status":"publish","type":"post","link":"https:\/\/kjagradio.com\/themic\/pathos-logos-reimagine-nirvanas-classic-with-new-single-in-bloom-out-december-17\/","title":{"rendered":"Pathos & Logos Reimagine Nirvana\u2019s Classic with New Single \u201cIn Bloom\u201d \u2013 Out December 17"},"content":{"rendered":"

<\/p>\n

\n\n\n\n
\n\n\n\n
\n

FOR IMMEDIATE RELEASE<\/p>\n

Pathos & Logos Reimagine Nirvana\u2019s Classic with New Single \u201cIn Bloom\u201d \u2013 Out December 17<\/p>\n

Pre-save & stream the single\u00a0https:\/\/distrokid.com\/hyperfollow\/pathosandlogos\/in-bloom<\/a><\/p>\n

Colorado\u2019s progressive power-duo Pathos & Logos are set to unleash their high-energy take on a grunge classic. Their new single, \u201cIn Bloom\u201d , drops Wednesday, December 17 at 7 PM MST via Digital Empire Media , delivering a bold, alternative metalcore reinterpretation of Nirvana\u2019s iconic track.<\/p>\n

Formed in 2018 along the foothills of Colorado, guitarist Kyle Neeley and drummer Paul Christiansen have stunned audiences across the U.S. and Canada with their complex, frenetic compositions and occult-themed aesthetics. From their instrumental debut Glory To The Order (2020) to 2022\u2019s Cult EP , Pathos & Logos laid the groundwork for their 2025 Gospel EP , marking their first release with vocals. Their style blends extreme and melodic vocals, with Kyle and Paul trading verses and choruses like a turbo-charged engine of sound.<\/p>\n

\u201cIn Bloom\u201d brings a fresh perspective to Nirvana\u2019s classic, infusing down-tuned riffs, crushing breakdowns, and a blazing guitar solo that underscores Pathos & Logos\u2019 signature intensity. The accompanying video, shot guerrilla-style at a local bus station, captures the band\u2019s raw energy in an unfiltered, visceral setting.<\/p>\n

Kyle Neeley comments on the release:<\/p>\n

“In Bloom is one of our favorite Nirvana songs and we wanted to shine a light on a track that we think has sort of been forgotten over time.”<\/p>\n

Production Credits: Recorded and mixed by Kyle Neeley (The Black Dahlia Murder, The Human Abstract) and mastered by Ryan Williams (The Black Dahlia Murder).<\/p>\n

Pre-Save and Fan Club Access:<\/p>\n

Fans can pre-save or stream the single\u00a0https:\/\/distrokid.com\/hyperfollow\/pathosandlogos\/in-bloom<\/a>\u00a0or join the Pathos & Logos fan club at bio.site\/pathosandlogos\u00a0for a free digital download of the single.<\/p>\n

For fans of: Between the Buried and Me, Deftones, Meshuggah<\/p>\n

Contact \/ Press Inquiries:\u00a0zach@metaldevastationradio.com<\/a><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n
\n\n\n\n
\"\"<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\n\n\n\n
\n

\u00a0Connect with the band:<\/p>\n

https:\/\/www.pathosandlogos.com\/<\/a><\/p>\n

https:\/\/www.facebook.com\/pathosandlogos<\/a><\/p>\n

https:\/\/www.instagram.com\/pathos.logos\/<\/a><\/p>\n

https:\/\/www.youtube.com\/@pathosandlogos<\/a><\/p>\n

https:\/\/pathoslogos.bandcamp.com\/<\/a><\/p>\n

https:\/\/open.spotify.com\/track\/0FidMo5dQE17eVGBGmEEWw<\/a><\/p>\n

https:\/\/music.apple.com\/us\/song\/in-bloom\/1817732686<\/a><\/p>\n

Contact:\u00a0Pathosandlogosloveyou@gmail.com<\/a><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\"\"<\/p>\n

    \n
  1. Why “In Bloom”?\u00a0You mentioned it’s a favorite that’s been “forgotten over time.” What about this specific Nirvana track, as opposed to their bigger hits, made it the perfect canvas for your progressive metalcore reinterpretation?\u00a0\u00a0Both Paul and I grew up big fans of Nirvana and the grunge scene in general.\u00a0 Nirvana, STP, Alice in Chains, and Soundgarden were major influences on us, especially when they tapped into their\u00a0heavier\u00a0influences and this song was one of the heavier songs on the Nevermind record.\u00a0 We also thought we could improve on the solo by using the vocal melody as a motif, playing it on guitar for the solo.<\/i><\/li>\n
  2. The Art of the Cover:\u00a0Taking on a sacred text of the grunge era is a bold move. What was your guiding principle? Was it to pay homage to the original’s spirit, to completely deconstruct it, or to use its framework to make a statement about your own sound?\u00a0\u00a0Definitely\u00a0to pay homage to a shared influence of ours, but we also thought that the original solo, which consists mainly of feedback and big muff, could be improved in a way that did not stray from the original concept.<\/i><\/li>\n
  3. Dual Vocal Attack:\u00a0This is a highlight of your sound\u2014trading verses and choruses. How did you approach dividing Kurt Cobain’s iconic vocal line? Was it about finding contrasting emotional textures, or purely about intensity?\u00a0\u00a0Good question.\u00a0 Honestly, I can’t sing and handle most of the screaming elements of the track, but Paul actually grew up singing in church.\u00a0 So he had to add some dirt to this one to match Cobain’s dirtier vocal style.<\/i><\/li>\n
  4. Signature Infusions:\u00a0You mention adding down-tuned riffs, crushing breakdowns, and a blazing guitar solo. Can you point to a specific moment in your version where you feel you most successfully “Pathos & Logos-ified” the song?\u00a0\u00a0Yes.\u00a0 The rhythm guitar section under the guitar solo is in the same key as the original song, but an octave lower.\u00a0 We also change the rhythm guitar part into what we call a “wisdom” riff, meaning that there are offbeat elements of the riff that make it sound polyrhythmic even though it conforms to a 4\/4 drum pattern.\u00a0 Like Meshuggah would do:)<\/i><\/li>\n
  5. The Guitar Solo:\u00a0Nirvana’s original famously shunned traditional solos. Adding a “blazing” one is a major statement. What was the intent behind crafting that solo? Was it about technicality, melody, pure aggression, or a commentary on genre itself?\u00a0\u00a0A little trick of songwriting that I learned from studying Dimebag Darrell is to take the melody of one instrument and play it on a different instrument, such\u00a0as guitar.\u00a0 Dimebag does this to great effect by taking Phil’s vocal\u00a0melodies and referencing them at times during his solos.\u00a0 It adds extra elements to a song that will alway fit without having to write a million different parts and massage them together with bridges and key\u00a0chages.\u00a0 For this track I thought the vocal melody of the verses would make for a great solo part, so I transposed that to guitar, emphasizing it with a few embellishments for flair and BOOM, we have a solo.<\/i><\/li>\n
  6. Production Pedigree:\u00a0You recorded\/mixed it yourselves, with Ryan Williams (The Black Dahlia Murder) mastering. What sonic aesthetic were you chasing? A modern, clinical heaviness, or something with more of the original’s raw, live-room feel?\u00a0\u00a0I would say that it falls into a more modern, clinical heaviness on the production side.\u00a0 In order to maintain the original’s raw\u00a0feel,\u00a0we did limit ourselves to only 3 full takes on each instrument.\u00a0 Ryan Williams and I actually worked together previously because I did much of the tracking on The Black Dahlia Murder’s Noctural\u00a0record and Ryan was the bassist at that time.\u00a0 So we definitely connected and now that he is mixing and mastering records like Kardashev and Cannibal Corpse, it was natural to have him master this record.<\/i><\/li>\n
  7. The Guerrilla Video:\u00a0Shooting at a local bus station is very “in the spirit” of early ’90s DIY. What was the concept behind that location? Did its stark, public, transient nature reflect something about the song or your approach to it?\u00a0\u00a0Man, I almost feel like I should have been a film location scout in a previous life, because I am CONSTANTLY looking for unique places that would lend themselves to a great video shoot.\u00a0 We were deadheading back home after a show and in the pitch black of night I saw the little tunnel all lit up and accessible off of an interstate in northern CO.\u00a0 When we pulled off to check it out, It had everything we needed for a great video…it was secluded, well lit and vibey, but still in a public location.\u00a0 The cops weren’t too keen on us doing the video and basically challenged us to get it done without them finding out since there are cameras everywhere.\u00a0 So we said fuck that and did the video anyway and shot the whole video in about an hour.\u00a0 A bunch of people were getting off the bus but were SUPER cool with it and even tried to give us money like we were busking or something.<\/i><\/li>\n
  8. The Duo Dynamic:\u00a0As a two-piece, you have to create a massive sound. How does covering a song originally played by a trio (and famously loose) challenge or liberate your usual process of constructing complex, layered music?\u00a0\u00a0It was very liberating, because instead of mastering every part and getting our parts perfect, we limited ourselves to only 3 full takes while recording.\u00a0 The idea there is to capture the energy of a great take and not necessarily a perfect take.<\/i><\/li>\n
  9. From Instrumental to Vocal:\u00a0Your earlier work was instrumental. How has adding your own traded vocals changed the way you write and arrange music, and how did that evolution specifically impact your approach to covering a vocal-centric song like this?\u00a0\u00a0We have always done a cover for each of our releases, but as an instrumental band we would transpose the vocal melodies to the guitar to get it done.\u00a0 This time around was the first cover we did with vocals and has really opened our eyes to doing more covers that aren’t necessarily metal-centric but lend themselves to the genre well.<\/i><\/li>\n
  10. Occult Aesthetics vs. Grunge Roots:\u00a0Your band has an occult-themed aesthetic, while Nirvana was rooted in punk and alienation. Where do these two worlds\u2014the esoteric and the starkly realist\u2014meet in your version of “In Bloom”?\u00a0\u00a0I think it’s more that we are both representing our authentic selves as bands and individuals.\u00a0 We believe in music and art as a way of life that outwardly blurs the lines between religion and autonomy while Nirvana always embraced their punk influences and anti-societal norms.<\/i><\/li>\n
  11. Genre Translation:\u00a0You’re tagged for fans of Between the Buried and Me, Deftones, Meshuggah. How do those diverse progressive\/extreme influences specifically color your take on a grunge anthem?\u00a0\u00a0Great question that I was not ready for…I would say that Deftones are well known to cover songs that are not typically considered metal and our love of Meshuggah represents the use of 8 string guitars in this song while Between the Buried and Me represent the incorporation of multiple genre’s\u00a0that we are known for.<\/i><\/li>\n
  12. Lyrical Lens:\u00a0Kurt Cobain’s lyrics often dealt with irony and misunderstood audiences. Do you connect with those themes in the modern metal\/prog scene, and did that influence your vocal delivery?\u00a0We do feel a bit misunderstood by audiences with this record because it is a transitional record.\u00a0 We were an instrumental band that started to vocals with screaming and singing, and not everyone is down with that.\u00a0\u00a0<\/i><\/li>\n
  13. Live Test:\u00a0Have you played this version live yet? If so, what’s the reaction from crowds familiar with the original versus those just there for the heaviness?\u00a0\u00a0We have played this live, probably 1o times now, and the crowd pops off EVERYTIME.<\/i><\/li>\n
  14. A Gateway Track?\u00a0Is this single intended as a gateway for Nirvana fans into your world, or for your fans to reconsider a classic through a new lens?\u00a0\u00a0It is an opportunity for us to showcase our influences, and people really appreciate that.\u00a0 They want to know that we were listening to the same things that they were.\u00a0 I’m not sure that fans of Nirvana are going to immediately go for us, but our fans will definitely go back and listen to the original if they hear us play it.<\/i><\/li>\n
  15. What’s Next for “Gospel”?\u00a0This is a precursor to your 2025\u00a0Gospel<\/i>\u00a0EP. Does “In Bloom” thematically or sonically set the stage for that EP, or is it a standalone mission statement?\u00a0\u00a0This actually closes the album cycle for GOSPEL and is the last song on the EP.\u00a0 We are currently half way through recording our next release for Digital Empire, which will be out late summer of 2026.<\/i><\/li>\n<\/ol>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    FOR IMMEDIATE RELEASE Pathos & Logos Reimagine Nirvana\u2019s Classic with New Single \u201cIn Bloom\u201d \u2013 Out December 17 Pre-save & stream the single\u00a0https:\/\/distrokid.com\/hyperfollow\/pathosandlogos\/in-bloom Colorado\u2019s progressive power-duo Pathos & Logos are set to unleash their high-energy take on a grunge classic. Their new single, \u201cIn Bloom\u201d , drops Wednesday, December 17 at 7 PM MST via […]<\/p>\n","protected":false},"author":1,"featured_media":39520,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"_acf_changed":false,"footnotes":""},"categories":[482],"tags":[],"class_list":{"0":"post-39519","1":"post","2":"type-post","3":"status-publish","4":"format-video","5":"has-post-thumbnail","7":"category-written","8":"post_format-post-format-video"},"acf":[],"_links":{"self":[{"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/posts\/39519","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/comments?post=39519"}],"version-history":[{"count":1,"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/posts\/39519\/revisions"}],"predecessor-version":[{"id":39522,"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/posts\/39519\/revisions\/39522"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/media\/39520"}],"wp:attachment":[{"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/media?parent=39519"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/categories?post=39519"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kjagradio.com\/themic\/wp-json\/wp\/v2\/tags?post=39519"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}