Pain Announces New Album ‘I Am,’ Previewed with ‘Go With The Flow’ Video

With the unveiling of their first single, ‘Go With The Flow,’ the Swedish industrial music ensemble Pain introduced the thematic essence of their forthcoming ninth studio album, ‘I Am.’ This musical piece, complemented by an elaborate video that stars renowned actor Peter Stormare—known for his roles in critically acclaimed works such as ‘Dancer in the Dark,’ ‘Fargo,’ ‘Prison Break,’ ‘John Wick’ and ‘The Big Lebowski’—alongside Peter Tägtgren, heralds Pain’s re-emergence on the musical forefront. The announcement of the eagerly awaited album ‘I Am,’ slated for release on May 17th via Nuclear Blast Records, marks a significant moment in the band’s trajectory.

The history of the Swedish musical ensemble known as Pain is a compelling narrative of innovation, resilience, and artistic evolution within industrial metal. Formed in 1996 by the multi-talented musician Peter Tägtgren, Pain has traversed the diverse landscapes of electronic, metal, and industrial genres, leaving an indelible mark on the global music scene.

Pain’s inception marked a departure from Tägtgren’s earlier endeavors, notably his involvement in the death metal band Hypocrisy. With Pain, Tägtgren embraced a more eclectic sonic palette, blending aggressive guitar riffs, pulsating electronic beats, and melodic hooks to create a distinctive sound that defied categorization. This sonic fusion laid the groundwork for Pain’s signature style, characterized by its juxtaposition of heavy metal intensity and electronic experimentation.

Industrial metal, an amalgam of aggressive soundscapes and the mechanized tempos of industrial music owes its genesis to the late twentieth century, marrying the raw energy of metal with the avant-garde aesthetic of industrial sound. This genre’s roots are firmly entrenched in the era’s broader socio-economic and technological upheavals, embodying a response to the dehumanizing effects of industrialization and technological advancement. It serves as a musical innovation and a cultural critique, reflecting the angst and alienation of a society grappling with rapid change.

The inception of industrial metal can be traced back to the late 1970s and early 1980s, a period marked by significant socio-political turbulence and the burgeoning influence of technology in daily life. Industrial music laid the groundwork with its foundation in electronic experimentation and the use of unconventional instruments (including factory noises and the sounds of machinery). Bands like Throbbing Gristle and Cabaret Voltaire pioneered this sound, exploring themes of dystopia, control, and the individual’s alienation within the modern industrial complex.

Simultaneously, the metal genre was evolving, characterized by its heavy use of distorted guitars, emphatic rhythms, and dark, often fantastical themes. As metal bands sought new ways to intensify their sound, the abrasive and mechanical textures of industrial music presented a novel avenue for exploration. This fusion was catalyzed by artists who began to integrate the electronic and repetitive elements of industrial music with the aggressive guitar work and percussive intensity of metal.

Ministry and Nine Inch Nails are frequently cited as pivotal in the crystallization of industrial metal as a distinct genre. Ministry’s transition from a synth-pop style to a more complex, industrial rock sound in the late 1980s exemplified the genre’s evolution. Their albums ‘The Land of Rape and Honey’ and ‘The Mind is a Terrible Thing to Taste’ showcased a blend of electronic samples, heavy metal guitar riffs, and distorted vocals, which became seminal in defining the industrial metal sound.

Nine Inch Nails, led by Trent Reznor, further propelled the genre into the mainstream consciousness with the release of ‘Pretty Hate Machine’ in 1989 and ‘The Downward Spiral’ in 1994. Reznor’s adeptness at marrying the visceral intensity of metal with the cold, machine-like precision of industrial music, alongside introspective and often disquieting lyrics, garnered widespread acclaim. This blend articulated a sense of disillusionment and ennui, mirroring the existential uncertainties of the age.

Industrial metal holds cultural relevance due to its exploration of themes such as dehumanization, dystopia, and resistance against structural forces. The auditory environment of the genre, distinguished by its meticulous mechanicality and unfiltered assertiveness, serves as a symbolic representation of the resistance against the intrusion of technology and industrialization on the human sense of self and independence. It signifies a shared sense of discomfort with the societal changes toward a future that relies more heavily on technology and can potentially dehumanize individuals.

When considering the poetic elements of industrial metal, one may see a widespread criticism of modernity and its establishments, raising doubts about the long-term viability of societal growth solely based on technological progress. The aforementioned thematic emphasis functions as a contrasting perspective to techno-optimism, positing that substantial human sacrifices may accompany the advantages of industrial and technological advancements.

The ongoing evolution of industrial metal has far-reaching effects beyond the realm of music, exerting influence on visual art, fashion, and broader cultural conversations. It continues to serve as a lively monument to the influence of artistic expression in navigating and evaluating the intricacies of contemporary existence. By combining various sounds, industrial metal not only documents a specific historical era but also explores enduring inquiries like humanity’s connection with technology, authority, and individuality.

The project’s inception was materialized with the release of ‘Pain’ on February 11th, 1997, under the record label Nuclear Blast. This debut album laid the foundational sound for Pain, characterized by a blend of industrial rhythms and heavy metal, setting a precedent for the project’s future direction.

‘Pain’ served as a manifesto, introducing audiences to Tägtgren’s vision of industrial-infused metal. Tracks like ‘End of the Line’ and ‘Suicide Machine’ showcased Pain’s knack for crafting catchy melodies amid industrialized chaos. The album received favorable reviews from critics and laid the groundwork for Pain’s subsequent musical endeavors.

Building on the momentum of their debut, Pain continued to refine their sound with each subsequent release. ‘Rebirth’ was released on December 24th, 1999. ‘Rebirth’ signified a maturation in Pain’s sound, incorporating more polished electronic elements and complex arrangements, suggesting a forward momentum in Tägtgren’s musical explorations. Tracks such as ‘On and On’ and ‘End of the Line’ exemplified Pain’s growing mastery of synthesis and atmosphere, earning them a dedicated following among metal and electronic music fans.

The third album, ‘Nothing Remains the Same,’ was released on July 15th, 2002. This record marked a significant evolution in Pain’s discography, venturing into more melodic territories and introducing more varied electronic textures, further expanding the project’s sonic palette.

Pain experienced a period of abundant artistic output in the early 2000s, characterized by the release of albums like ‘Nothing Remains the Same’ and ‘Dancing with the Dead,’ released on March 21st, 2005. The albums, as mentioned earlier, witnessed Pain’s further expansion of their sound boundaries, as they integrated components of industrial rock and alternative metal into their musical composition. Songs such as ‘Shut Your Mouth’ and ‘Same Old Song’ became essential to Pain’s live shows, highlighting the band’s wide variety of musical abilities and captivating enthusiasm.

The exploration of thematic and musical complexity continued with the release of ‘Psalms of Extinction’ on April 16th, 2007. This album featured a more aggressive approach to the industrial metal genre, incorporating guest musicians and expanding the project’s sound with diverse instrumentation.

Widely regarded as a seminal work in the band’s discography, the album saw Pain reaching new heights of creativity and ambition. Tracks such as ‘Zombie Slam’ and ‘Nailed to the Ground’ showcased Tägtgren’s songwriting prowess and the band’s mastery of studio production techniques.

‘Cynic Paradise,’ released on October 31st, 2008, offered a critique of societal and personal disillusionment through its lyrical content, backed by an amalgamation of electronic beats and heavy metal riffs. This record underscored Pain’s ability to blend social commentary with musical innovation.

The project’s seventh studio album, ‘You Only Live Twice,’ was released on June 3rd, 2011. It delved into personal and existential themes, characterized by its heavy use of synthesizers and industrial rhythms, reinforcing the project’s signature sound while exploring new lyrical depths.

Reflecting on the prolific period following the release of ‘Coming Home’ on September 9th, 2016, Tägtgren notes the whirlwind of musical projects that included collaborations with Rammstein’s Till Lindemann and a studio album with Joe Lynn Turner in 2022. This busy era culminated in the focused resurgence of Pain. Bolstered by the success of ‘Party in My Head,’ the creation of ‘I Am’ began with renewed vigor.

In addition to their studio recordings, Pain has built a reputation as a formidable live act, captivating audiences worldwide with their electrifying performances. Tägtgren’s commanding stage presence and the band’s tight musicianship have earned them a loyal fanbase and critical acclaim from music critics.

As Pain progresses throughout its third decade, the band exhibits no indications of deceleration. Pain, with an upcoming album and an extensive touring schedule, persists in pushing the limits of artistic expression, thereby solidifying its position as a highly inventive and influential band within industrial metal.

Tägtgren’s artistic journey took a nostalgic turn with ‘Go With The Flow,’ as he ventured into the realm of ‘80s synth-pop. Employing analog synthesizers, Tägtgren aimed to blend a catchy chorus characteristic of Pain with new lyrical themes and vocal styles. The track, he reveals, is an introspective take on his tendency towards negativity and the consequential need for personal liberation from the shackles of disappointment. As the world grappled with the pandemic in 2021, Tägtgren, undeterred by global melancholy, struck a chord with the infectious ‘Party in My Head.’ This track resonated widely, amassing millions of plays, testament to Pain’s ability to craft danceable yet heavy anthems.

‘I Am’ is perhaps the most eclectic addition to Pain’s discography, weaving together industrial metal riffs, evocative melodies, and dynamic rhythms. Tägtgren intended to infuse the album with increased intensity and a return to the band’s industrial roots, diverging slightly from its predecessor’s orchestral and acoustic elements. This shift is complemented by contributions from Tägtgren’s son, Sebastian, further enriching the album’s diversity.

Throughout its discography, Pain has maintained a commitment to sonic experimentation within the industrial metal genre, marked by a progression from raw, foundational sounds to more sophisticated and thematic explorations. Each album, signified by its release date and associated record label, represents a chapter in the ongoing narrative of Pain, contributing to the broader understanding of industrial and electronic music’s potential for innovation and expression.

The album features standout tracks that promise to surprise and engage fans, with ‘Go With The Flow’ positioned as a distinctive nod to ‘80s Depeche Mode. However, amidst the album’s varied soundscape, thematic darkness remains a constant, reflecting Tägtgren’s sardonic view of contemporary challenges. With plans for extensive touring to support ‘I Am,’ Pain is poised for a busy period of live performances and further creative endeavors, cementing their legacy in the evolving landscape of industrial metal.