By Lily O’Delia
Few metal bands capture the pulse of New York City quite like Tower. Tower was forged in the grit and urgency of the city’s metal scene; the band has steadily built a reputation for delivering traditional heavy metal with ferocity, conviction, and a modern edge. Fronted by the commanding voice of Sarabeth Linden, Tower has emerged as one of the most talked-about acts in the current wave of classic-inspired metal. Their latest album, Let There Be Dark (released in 2025 by Cruz Del Sur Music), pushes their sound into deeper and more atmospheric territory while retaining the intensity that first defined them.
From sweaty club shows in Brooklyn to festival stages alongside legends, Tower’s rise has been fuelled by relentless touring, a strong sense of identity, and a deep respect for heavy metal’s lineage. In this conversation, Sarabeth Linden reflects on the band’s evolution, the chemistry within the current lineup, the influence of New York City on their songwriting, and the creative drive behind Let There Be Dark. She also discusses working with producer Arthur Rizk, the mythic imagery woven through the album’s lyrics, and what the future holds for the band as they continue carving their own path within the modern heavy metal world.
You guys are often called “the” NYC metal band right now. How much of that gritty NYC energy influences your songwriting?
Being from New York definitely seeps into the songwriting. There’s an urgency here where you don’t have time to be precious. It’s loud, fast, and unapologetic, which most definitely shows up in our music.
The band has had some lineup shifts over the years; how does the current dynamic with Philippe and Keith feel different compared to the early days?
With Philippe and Keith, it feels grounded. It’s less about proving something and more about building something.
James Danzo and Zak Penley’s guitar harmonies feel almost telepathic. When it comes to solo sections, how do they decide who takes the lead—is it a deliberate creative discussion, or does it unfold more organically in the moment?
It’s mostly organic. James and Zak have a natural chemistry, and they know when to step forward and when to support. Sometimes it’s discussed, but usually it reveals itself at practice. If it feels right, we follow that instinct.
People love to slap the “NWOTHM” (New Wave of Traditional Heavy Metal) label on you. Does that feel like a badge of honour, or does it feel like being boxed in?
It’s an honour, honestly. That tradition means something, but we’re not trying to cosplay 1981. We’re pulling from it, respecting it, and then pushing forward. If someone needs a label, that’s fine, but we’re not boxed in by it.
Working with Arthur Rizk is a big deal. Was there a specific moment in the studio where he pushed you to do something you initially resisted? What has working with him taught you?
Arthur will absolutely call you out if something isn’t fully committed. There were moments vocally where I thought, “That’s enough,” and he’d say, “No, you’ve got more.” He pushed performances to the edge in a good way. Working with him taught us discipline and precision without losing intensity.
Let There Be Dark feels a bit more atmospheric than the earlier stuff. Was that a conscious decision, or did the music just evolve that way?
It wasn’t a calculated shift. The music just matured. We’re older, we’ve lived more, and we’ve seen darker things. That depth naturally crept in. Atmosphere became a vehicle, not a goal.
If you could go back to 1982 and open for one band, who would it be?
Opening for Iron Maiden in ’82 would be insane—or Judas Priest or Black Sabbath (any era). No hesitation.
How do you keep that “banshee-like intensity” in your vocals night after night without completely blowing out your voice?
Technique and discipline. I warm up every night. I hydrate like it’s my job. I also have in-ear monitors, which have helped me a bunch on the road. Still losing my voice! Haha.
Do you prefer the more intimate club shows or the big festival stages?
Clubs are sweaty, intimate, and intense. Festivals are always super sick. I love both for different reasons.
The lyrics on the new album feel more like “myth” than “diary”. Were there specific books, movies, music, or art that were playing in the background while you were writing?
There was a lot of mythic imagery floating around—occult art, classic horror, and biblical references. Less confessional, more archetypal.
Your delivery has been described as “Pat Benatar on steroids.” Do you feel that leaning so heavily on the Pat Benatar comparison ignores the more operatic textures and classic NWOBHM influences that define your vocal identity?
Pat Benatar is a legend, which is never an insult. But yeah, there’s a lot more going on vocally. There’s NWOBHM influence, there’s drama, and there’s theatricality. Definitely not the whole picture—but pretty flattering!
Besides the Benatar comparisons, people often mention Ann Wilson and Janis Joplin. Was there an actual vocalist that made you realise you could scream for a living or heavily influenced your singing style?
Hearing Ronnie James Dio sing made me realise it was possible. That power. That command.
“Let There Be Dark” is a bold title. What’s the most “dark” or “haunted” place you’ve ever visited?
My own thoughts. Haha.
You played your last show at Saint Vitus in October 2023, just a few months before the shutdown. Saint Vitus was often called the “CBGB of the 21st century.” For a New York band like Tower, how much of your early identity was forged within those black walls?
Vitus forged a lot of us. Those black walls were a proving ground and also a testament to our growth. Saint Vitus Bar was a massive part of our community. RIP.
You’ve played festivals like Hell’s Heroes and Metal Assault. What’s the most dedicated thing a fan has ever done at a Tower show?
We’ve had people travel internationally for a one-off show. That kind of dedication is humbling. You don’t forget that.
Looking back at the Mutoid Man tour in 2024 and the Exciter run in 2023, what is the most important lesson you learned about “survival on the road” that you’re applying to the 2026 dates?
Rest is everything. Hydration. Boundaries. You can’t party like you’re 22 forever (although some of us do), but sustainability is key.
The music video for “Under the Chapel” has a distinct ritualistic and esoteric aesthetic. How involved is the band in the visual direction, or do you leave that to the directors?
We’re very involved. We bring concepts, references, and mood boards. But we also trust directors to elevate it visually.
You’ve traded the “party” edge for something much more visceral and serious. Do you think the escapist nature of early metal has lost its relevance, or is this simply where your creative instincts are leading you now?
Escapism will always have a place. But right now, this is where we’re at creatively. It’s honest. That’s what matters.
Does the backing of Cruz Del Sur Music provide a sense of security and support, or does being part of such a respected roster create a unique kind of pressure to constantly deliver?
It feels very supportive. They respect our vision.
Many of your label mates (Sanhedrin, Traveller, Summerlands) share a similar “pure metal” ethos. Do you feel a sense of camaraderie or healthy competition with other bands on the roster?
There’s camaraderie. We all care about keeping heavy metal authentic. It’s more mutual respect than competition.
If someone is listening to Tower for the first time, where would you want them to begin?
Start with Let There Be Dark. Then go backward and hear the evolution.
What are some bands that you’ve been thrilled to have shared a stage with?
Mutoid Man was huge for us. Exciter was wild in the best way.
What or who are some of your inspirations, creatively speaking?
City energy. Real-life tension.
Do you have a favourite song on Let There Be Dark?
“And I Cry” hits emotionally. But I also love the song “Let There Be Dark”.
What do you think is one of the biggest misconceptions about Tower?
That it’s nostalgia. It’s not retro. It’s reverent.
If you weren’t making music, what do you think you’d be doing?
Funny that you ask! I’m about to embark on a three-month yoga teacher training journey starting this coming March.
You’ve received an incredible amount of critical acclaim for Let There Be Dark. Does that wave of positive reinforcement make you feel more confident in this darker direction, or does the high praise make the pressure for the next record feel more intense?
It’s affirming. But it also raises the bar internally. We’re competitive with ourselves.
What’s next?
Probably more writing. The next chapter is already forming.
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