As they began the process of writing their third album, 3TEETH strived to write heavier, more aggressive songs with strong hooks that would appeal to arena audiences as well as club dwellers.
“I knew it was time to kick this thing into overdrive, “Mincolla says. “In my mind, this was our first official record. I knew I wanted the songs to have strong messages, but at the same time, I wanted to make an album that could appeal to 20,000 people who all wanted to rock out at the same time. I purposely didn’t want to be so heavy-handed that it wasn’t fun. I wanted there to be a certain amount of mindlessness in the music because I think mindlessness in mindfulness. They actually make very good bedmates. If you’re gonna say something really important you don’t want to come across as preachy.”
One listen to the syncopated beats, misanthropic vocals and uncanny melodies of the opening track “AFFLUENZA” illustrates 3TEETH’s determination to stretch boundaries and shatter preconceptions.
“Time Slave” is a mid-tempo barrage of pummeling rhythms, piercing synths and driving riffs colored by a tuneful refrain and “President X,” which begins with an ominous whoosh that morphs into the shouts of a riotous crowd, is a masterful mélange of mechanized vocals, martial beats and keyboards that compliment the scathing, non-partisan message.
“We’re really trying to find a weird space in between everything else that is maybe anti-systemic, that isn’t on the left or the right, and is underrepresented,” Mincolla says. “On ‘PRESIDENT X,’ we’re not making fun of President Trump. We’re making fun of [every] president. It doesn’t make a difference who the president is. It’s all the same bullshit."
From the slow, brooding intro to “ALTÆR” to the moody, electronic pop-tinted “SURRENDER,” 3TEETH touch all the pleasure points for fans of metal, industrial, EBM and even new wave while injecting sobering, prescient themes about megalomania, media overload, and mass rebellion. 3TEETH’s reliance on pop culture tropes to overload and overthrow is especially evident in their cover of Foster the People’s mega-hit “PUMPED UP KICKS,” which is manipulated, twisted and abused until it’s an ugly transmogrification. And yet, it’s still fully recognizable to fans of the original.