For Seether frontman Shaun Morgan, it’s more exciting to be bringing out a new album — The Surface Seems So Far, which drops Friday, Sept. 20 — than it is to be celebrating the band’s 25th anniversary.
It has been that long since Morgan formed Seether, as Saron Gas, in his native South Africa (bassist Dale Stewart joined in January of 2000 and has remained since). During the interim the group has released nine studio albums and netted 26 top 10 singles on Billboard’s various rock charts, including 10 No. 1 Mainstream Rock Airplay hits with the new album’s first single, “Judas Mind.” Seether was also Billboard’s No. 1 Active Rock Artist and Heritage Rock Artist in 2011, the same year “Country Song” was the top Active Rock song of the year.
“Sometimes it feels like 25 minutes, sometimes it feels like 250 years,” Morgan tells Billboard via Zoom from his home in Nashville — where, he acknowledges with a chuckle, “I’m 45 now, so it’s been a long time and I’m starting to feel it in the bones, all the respective ailments that slowly creep in with age. There’s always that reality check to let you know you’ve been doing it for awhile.
“I guess for us the most exciting thing is still to be able to do it…at this level and with this kind of enthusiasm and this kind of fan base. Thankfully so far we’ve managed to keep on trucking and keep the band moving forward. That in itself, I think, is the achievement I focus on.
“I’ve toured many, many years with many, many bands that no longer exist, and they were bands I thought were better than us. We’ve certainly weathered some genres and trends and seen some go and return, and we’ve just sort of been trucking away in the background. Somehow we’ve managed to keep ourselves around and be relevant on some level.”
Seether’s continuing connection with its audience isn’t hard to figure out. The music remains a kind of timeless, high-powered brand of heavy rock, steeped in well-established traditions of classic grunge, metal and, occasionally, punk. As a lyricist, meanwhile, Morgan wears his proverbial heart on his sleeve, unafraid to mine dark emotions all the way back to early favorites such as “Fine Again,” “Gasoline” and “Broken,” the worldwide breakthrough single when it was re-recorded with Evanescence’s Amy Lee for 2004’s Disclaimer II album.
“I just try to write what I like to listen to and what I like to play and what makes me feel something on an emotional level,” Morgan explains. “I don’t try to overthink it; I just write what I’m feeling every time we do an album and try and write music that helps me get through situations, or darker days I guess. I try and always represent the music and myself in an honest and real way and be as vulnerable as I can without being trying to give away too much. I try and be as vague as I can, lyrically, so people can apply the songs to how they’re feeling and maybe get something out of it that way.
“So all of that combined would contribute maybe, to the fact we’re still here.”
Fans likely won’t have trouble relating to the 11 tracks on The Surface Seems So Far, either.
Written during an 18-month period during which Morgan’s wife gave birth to their third child, the songs stem from “a lot of existential crisis moments” he was experiencing during the 2020 pandemic lockdown, which came just a few months before the release of Seether’s last album, Si Vis Pacem, Para Bellum.
“Obviously 2020 was a wash, and 2021 and ’22 weren’t much better,” Morgan explains. “I’d been told by the powers that be that I was not a relevant or important person and my livelihood was not important for a very long time.” And while he wasn’t sorry that “I got to sit and be with family and really enjoy being a dad and a husband,” Morgan also faced “moments of self-doubt and the genuine anguish of wondering, ‘OK, what’s next? Is this all that there is? Do I have to find something else I want to do for the rest of my life, where I feel more fulfilled and maybe don’t feel quite so expendable?’ There were many times I thought about quitting, yeah.
“Those were the biggest issues for me in writing this album.”
Those heavy questions can be felt throughout The Surface Seems So Far as Seether — Morgan, Stewart drummer John Humphrey and guitarist Corey Lowery — steam through the leaden dynamics of songs such as “Try to Heal,” “Same Mistakes,” “Semblance of Me,” “Paint the World,” “Dead on the Vine” and “Illusion,” while “Walls Come Down” stands out as a more melodic counterweight.
“It’s funny; this is the first album we’ve done that doesn’t have an acoustic (track) on it, which I didn’t realize until we were done,” Morgan notes. “I wrote about 20 songs and we ended up recording about 13 of them. But there was never really a thought about what I wanted it to sound like. Whenever I start writing for albums it’s sort of a fishing expedition; I don’t know what I’m doing and I have no direction, so I just start writing and the direction reveals itself to me.
“And the most powerful emotions of the past few years for me were certainly rage and anger, and in this particular snapshot of my life most of it was, ‘I need to get rid of this frustration and this anger,’ and that leads to heavier music, obviously.”
The Surface Seems So Far marks Morgan’s third consecutive album as producer, too, a task he first found “daunting” but that he’s grown more comfortable with over time. “There’s only one producer I worked with who I felt the experience was positive and I learned something from, and that was Brendan O’Brien,” who produced Holding Onto Strings Better Left to Fray in 2011 and 2014’s Isolate and Medicate. Morgan explains that, “I came out the other side of those albums with him and thought, ‘OK, I’ve learned enough about songwriting from him. I’ve learned enough about producing from him, the approach of making an album from him, and I’ve learned from the either guys what I DON’T want to do, so lemme give it a shot and see how it works out.’ And because of that these past three albums are actually the first time a high percentage of me is proud of how they sound.”
That said, Morgan doesn’t rule out working with someone else in the future.
“I’m not opposed to it,” he says. “I always had in my mind there would be this trio of albums I’d produce, and they’d all kind of be in a similar vein and have a similar kind of theme or a similar kind of sound, and when the next album comes it’s gonna be a brand new chapter…and maybe have somebody else come in and give me an opinion again from an outsider’s perspective. We’ll see.”
For now Morgan and Seether are excited to be getting back on the road. Dates have just started with Skillet, running into October with some festival stops (Louder Than Life in Louisville, Rocktoberfest in Oceanside, Calif. and Aftershock in Sacramento) and more ahead for 2025. The new album will be fresh, of course, but Morgan predicts that “‘Judas Mind’ will definitely be in the set list, and I might want to play ‘Illusion’ ’cause it’s one of my favorite songs on the album and is on the streaming platforms, so people can know it. You do want to play the songs that fans are there to see, right? So I do want to play all the classics, so to speak, and once the album’s been out a little longer we can start to play more of those songs and get a feel about those from the audience.
“We’re just happy to be getting back on the road, man. We are a touring band, and we haven’t been able to do as much in the last few years, so we’re really ready for this now.”
