Ride the Brutal Euphoria Wave with Angel Electronics

Journey the Brutal Euphoria Wave with Angel Electronics


Natalie Marlin

January 20, 2023

Requested to describe their band’s seem, Ada Rook and Ash Nerve right away have an reply: “brutal euphoria wave.” The descriptor gets to be a chorus in the course of our movie chat, with Nerve and Rook normally repeating it back again and forth in between each and every other. “It’s our catchphrase,” Rook jokes.

The sound of Angel Electronics—full of blast beats, screams, and sunny major essential choruses—fits suitable in with both of those artists’ prolific histories in wildly upending standard genres. On their debut Ultra PARADISE, the duo borrows just as significantly from Rook’s industrial solo output and the noise pop of Black Attire as they do from Nerve’s melding of bubblegum pop and delighted hardcore on his individual and in watchusdiedotcom. “The thought was,” Nerve suggests, “the unusual contrast in between those two sides would make a exceptional audio.”

Angel Electronics’ inspirations—the maximalist industrial metal of Strapping Youthful Lad’s City, the genre-anarchic metalcore of Paledusk, Slipknot’s “flair for the extraordinary and theatrical,” Greatest The Hormone’s swerves from bubblegum pop to deathcore—cover just as much sonic territory. But a person band gets referenced most: the J-rock idol group BiS (and their sister team BiSH), Nerve’s “absolute beloved team of all time.” In BiS, Angel Electronics saw the possibility in pairing unapologetically poppy melodies with heavy manufacturing, and a kindred generate to artistically drive by themselves to their limits.

An Angel Electronics song can pull from any and all of these influences. Extremely PARADISE opener “WALL OF SUMMER” arrives out of the gate with a pummeling barrage of blast beats and fall-tuned chords, only to barrel into dazzling, soaring harmonies. Tracks like “SECRET TEACHINGS OF ALL AGES” invert this by top with the melodic and conserving their gnarliest breakdowns for late in the track. Rook presents yet another description of their sound: “death metal on molly.”

However Rook and Nerve have been mates because 2016 and from time to time operate on every other’s content, Extremely PARADISE marks their 1st album-length collaboration. For Rook, the band was an escape from a stress filled sudden go from Toronto to Hamilton owing to black mildew. “We were like nowhere,” she says. “I was just like, ‘Fuck it, Ash, do you want to form a band so I can do nearly anything with my brain which is not centered on this shitty little town?’”

With Nerve in Los Angeles (“We consider ourselves a Los Angeles band,” he says, “because we equally live in this article in our hearts”), the two started investing information above Google Drive. Nerve would send out totally-composed demos to Rook, who would deal with creation and sometimes rewrite hooks as required. Working jointly came naturally—Nerve loves songwriting but hates creating, while Rook finds songwriting difficult but enjoys “the cumbersome minutiae of production.” Both appreciate singing, and lots of of the tracks on Ultra PARADISE were both published or reconfigured to play off the duo’s vocal interplay.

Ash emphasizes that Angel Electronics’ effortless dynamic comes from a shared valuing of novelty and “the alchemy of two persons coming together—you can not actually predict what is heading to occur.” Rook provides, “There’s a form of chaos—trusting the other person to fuck it up in their possess specific way—that I consider is the vital to healthier collaborations.” Just about every new file sent between the two turned a recurring exercising in indicating “I simply cannot consider you let me get away with this,” as Nerve puts it, be it his lyrics about Western esotericism or Rook “sneaking in djent breakdowns” on tracks like “EVIL Powering YOU.” On album closer “RAINBOW,” Rook recollects nervously sending a file with a “really silly breakdown in the center,” only to have Nerve love it and retain it on the concluded track. Rook chalks this compatibility up to both of them being maximalists: “We appreciate when the other keeps putting shit in.”

Lyrically, the most frequent figures all through Angel Electronics’ tracks are—suitably—angels. The two notice that religious trauma and “the perception of dread you place in a child” is a concept throughout all their perform. With Ash, that manifested as awestruck obsession in excess of the Reserve of Revelation’s methodical descriptiveness. Rook, also, is compelled by the Bible’s angel imagery, specifically ophanim, for how they embody a “confusing perception of goodness” that is each stunning and “scary as shit”—a dichotomy mirrored in the seem of the band.

This intentionality carries through to the album’s construction at massive. Rook professes how crucial she finds album sequencing, and how she structured Extremely PARADISE’s tracklist into symmetrical halves, suitable down to beginning each side with blast beats. Dividing the album’s two halves is “PARTY Lady,” a Rook-led monitor about a shy girl longing for an outgoing female. Rook sees it as “the heart of the album,” lovelorn and tender synth-pop constructing to a cathartic, pleased-hardcore climax. At its height, Rook and Ash harmonize “And if there is a God higher than/ I believe that He’s providing me a indication/ Simply because He opened my heart/ And assisted me make you mine”: the most hopeful sentiment the album carves out of its spiritual themes.

In sonically adventurous tracks like “PARTY Woman,” Angel Electronics are presently searching toward their long term. They point out a second album is already planned, and they aspire to thrust their extremes in pop and metal even even more. If there’s one particular matter Angel Electronics hopes listeners get absent from their debut, even though, it goes again to the core motif of our interview. “We want to be the definitive brutal euphoria wave band of Los Angeles,” Nerve states. “Let’s see the younger generations occur in and do greater than us.” Rook is just as ready to stake Angel Electronics’ declare: “Maybe they’ll do superior than us, but we’re the progenitors.”



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