PRESIDENT // King of Terrors

A DEPBUT EP THAT FEELS LIKE A BAPTISM IN DARKNESS, BUILT FROM SYNTHS, SCREAMS AND SCRIPTURE

★★★★★ (5/5)

PRESIDENT have arrived shrouded in anonymity and intrigue. In the second half of 2025, they seem to have jumped out of nowhere, with a spot in Download festival yet without any music. Slowly but steadily, the masked and enigmatic group have chosen to let their art speak louder than their identities, by releasing music that condenses their vision into sound. Their debut EP, King of Terrors, is a dive into the shadows – through six tightly wound tracks, PRESIDENT introduce us to a deeply personal yet cinematic world of music that sounds louder than the people behind it.

The EP is woven by images of religion, inner conflict, darkness and mortality – or death. Throughout the EP, PRESIDENT grapple on questions of faith, doubt and defiance, offering lyrics that feel both confrontational and confessional. It is a record with a dark and moody atmosphere, but in the end it feels cathartic, like the space where personal trauma is refracted through grand and experimental soundscapes, blending various genres.

And speaking of genres, King of Terrors is a hybrid beast. Starting off with ‘In The Name of the Father’, PRESIDENT’s revelation of a track, there are guitar breakdowns and screamo vocals, leaning into guttural screams and a more ‘emo’ feel, whilst songs such as ‘RAGE’ and ‘Destroy Me’ have programmed beats, synths and industrial echoes, blended with soaring clean vocals and a polished production. The songs have layers and feel cinematic in scope, sharpening the tension between destruction and redemption.

Track by Track

1.        In The Name of The Father

The EP opens with urgency, setting the tone by confronting religious anxiety head-on. The song was much anticipated by the audience that was intrigued by what PRESIDENT was all about, earning the band millions of streams on the day of its release. The vocals were so signature, it was not difficult to find the mastermind behind the inaugural campaign, whilst the guitar breakdowns made it a visceral opener to the new chapter of the band.

2.        Fearless

Leaning into anthem territory, this track balances grit with hooks. It is a song built for live crowds, and a personal favourite, as it explores themes of personal struggles and introspection. It is the track that reinforces the EP’s mantra as a work that is ‘forged in solitude; shaped in memory’, because it brings back the themes of darkness, death, self-exploration and existential dread.

3.        RAGE

Without losing its flow and thematic, there is more emotional depth added when RAGE comes on. Using electronic synths as the base, bold electronics and atmosphere, the vocals channel fury and despair. This is the most cinematic track yet, and despite its title it is softer in tone and cleaner in production. When first released, the song was divisive, as it was a sharp contrast to the previous two more alternative/rock/metal tracks which confused the fans expecting more heavy riffs and darker thematic. But it grows on you once you give it a chance, it is a song that feels almost liturgical and anthemic.

4.        Destroy Me

The latest released track is a resurgence; ‘Destroy Me’ is short but impactful. Pairing vulnerability with intensity, weaving confessions with existentialism, it is a climax into the most uncomfortable feelings one can have. It brings back the sharp momentum of the record, the storm after the calm, combining melodic lines and harsh screams. It feels like the song that brings back appetite for emotional depth and intense headbanging – if that is even possible.

5.        Dionysus

Just as you think that ‘Destroy Me’ is the best song on the EP, ‘Dionysus’ comes forward to claim the spot. It is heavier, darker, moodier, bringing back alt-metal and post-hardcore elements to sweep you off your feet. It pushes into theatricality and ritualism, blended with absolute chaos. There are heavy guitar riffs, aggressive drum beats, loud vocals that scream despair and demand, and it is the ‘yes, that’s the one’ moment for the whole EP. It is what fans expected and what they will get, a song that will establish PRESIDENT as one of the best and most welcomed bands to bring back alternative and heavy metal to the forefront of underground culture.

6.        Conclave

Closing off the EP, ‘Conclave’ is like the end of a ritual. Soft, mellow, cathartic, like the breath of relief you take after a relentless sprint. It lets the drama melt down but not complete disappear, as it is still woven by lyrics such as ‘Will I see you in the afterlife’ that feel uneasy and desperate. It abandons emo-rap style verses and breakdowns for whispers in the dark, a conviction veiled in intensity and softness all at once. It is the most introspective track on the record, and it closes off like the catharsis that comes after a tragedy. If PRESIDENT were a film, this would be the moment of the main character’s redemption, which leaves a lingering impression on the viewer.

Overall, the sequencing of the record keeps the momentum and has enough stylistic variation to avoid monotony. The themes and lyrics are cohesive and have a lot of emotional depth, setting PRESIDENT apart from peers. It shows that King of Terror is an arresting debut – it is dark, ambition and deliberately unsettling, commanding attention. Yet, there are definitely some mishaps in this effort. The shortness of the EP feels more like a teaser than a complete statement and the shift between such different styles could divide listeners who want a more focused direction. And let’s not forget the elephant in the room, the whole campaign and thematic screams Sleep Token – and we have already seen enough of that.

Despite the above, the drama and scale of PRESIDENT is definitely not to be underestimated. If this is a first taste of what is to come, I am very hungry for more and for seeing the full potential of the band. It shows that PRESIDENT are not just loud for the sake of it – they are theatrical, emotionally challenging and unafraid to confront uncomfortable subjects. They are not afraid of darkness, of asking difficult questions and challenging convention with their theatricality and flair. If this is a prelude, then we are looking forward to what is ahead.

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BY: CHARIS LYDIA BAGIOKI