Waylon Reavis and A Killer’s Confession turn rejection, disappointment and the hunger for recognition into something darker on “Roses,” while preparing to close their sprawling Victim trilogy this November.

There Will Be No Roses on This Grave

A Killer’s Confession has returned with “Roses,” a dark new single from the band’s forthcoming sixth studio album, Victim 3, arriving November 13 via MNRK Heavy.

Led by former Mushroomhead vocalist Waylon Reavis, “Roses” digs into the moment when seeking recognition becomes pointless. It’s about pouring yourself into something, receiving little acknowledgement in return, and eventually realizing that outside approval was never supposed to determine the value of what you created.

That frustration gives the track its bite, but underneath it sits something closer to liberation.

Reavis describes the song as emerging from the feeling that everything you’ve done has been in vain. The conclusion is considerably less defeated than the premise: know why you made your choices, own them, and stop waiting for somebody else to congratulate you.

The song’s bleak central declaration — “There will be no roses on my grave” — becomes less about death than refusing to spend a lifetime waiting for flowers.

“Roses” arrives alongside an official music video directed and produced by Dusten Boles.

“Victim 3” Brings the Killing to an End

The eleven-track Victim 3 isn’t simply another A Killer’s Confession album. It concludes the band’s three-record Victim narrative, bringing the story that began with Victim 1 and continued through Victim 2 to its final reckoning.

At the center of the trilogy is a vigilante serial killer who initially targets some of society’s worst offenders. By Victim 3, that warped pursuit of justice has reached its inevitable destination: death row.

What began as vengeance has mutated into something considerably darker, allowing the trilogy to wrestle with morality, punishment, accountability and whether someone who believes they are delivering justice can eventually become indistinguishable from the evil they condemn.

Musically, the album moves through the electronic darkness of “Roses,” the crushing grooves of “Meat Hook,” the aggression of “The One” and ultimately the resignation of closing track “Worth Saving.”

The record also contains the band’s recent stripped-back interpretation of The Weeknd’s “Blinding Lights,” which traded much of A Killer’s Confession’s usual weight for a more exposed performance built around Reavis’ vocals and the melancholy buried inside the original song.

For Reavis, the trilogy has become one of the most personal projects of his career — not merely three albums, but an interconnected universe of characters, perspectives and consequences.

A Decade of Darkness Comes Full Circle

Formed in 2016, A Killer’s Confession has built its identity around the collision of alternative and nu-metal heaviness, electronic atmosphere, sinister storytelling and hooks designed to survive long after the impact of the riffs.

Along the way, the band has collaborated with Brian “Head” Welch of Korn, Chad Gray of Mudvayne, Aaron Nordstrom of Gemini Syndrome and Reavis’ former Mushroomhead bandmate JMANN, while tracks including “Numb” and “Angel on the Outside” helped push the project to millions of streams.

Now that decade-long journey is converging with the conclusion of the band’s most ambitious story.

A Killer’s Confession will take that chapter onto the road with the Everything Comes Full Circle Tour, joined by Dizasterpiece and Dead Things. The North American run begins November 4 in Raleigh and puts the band in Louisville on November 13 — the same day Victim 3 arrives — before continuing through early December.

For A Killer’s Confession, everything really is coming full circle.

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“Roses” doesn’t ask for sympathy, applause or a pat on the back. It strips away the expectation of recognition entirely. With Victim 3 waiting just beyond it, A Killer’s Confession is preparing to close a story about vengeance by confronting the consequences that inevitably follow — and perhaps asking whether anyone deserves roses when the final chapter is written.

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