Updated: Apr 16, 2019
Massive Ego’s members Marc Massive (vocals, lyrics) Scot Collins (synth, production) Oliver Frost (percussion) join Elektro Vox to speak about their new album released on the 26th of this month titled Church for the Malfunctioned. Having listened to several of the songs on offer I can tell you this already, this album is going to be one of the 'must listen' albums of 2019. It really is a credit to the scene.
Album teaser trailer:
Official video of the brand new single 'Digital Heroin':
Q. Thank you for speaking to Elektro Vox. I must admit I only recently discovered yourselves about a month a go via Spotify when it suggested the track ‘Let go’ on the ‘Beautiful Suicide’ album and it went straight to my driving playlist. How would you describe your sound to people who have never heard your music before and how would you say the new album continues or differentiates in that sound?
Glad you found us, what took you so long? lol I understand that though as we’re like a band with a history in two parts, the cover version, 80’s NRG pop band version from the 90s early naughties to the band you find yourself coming across now. I guess with twenty years history we’ve gone through some musical transitions and line-up changes over those years. I very rarely reference or perform any of the old material pre-2014 now as we are a completely different sounding band now from the early days and the line-up we formed in 2015 is the band that has started doing well. Since discovering the dark scene and it’s industrial, goth, EBM elements I completely changed the direction of the music I wanted to make and found like-minded spirits in the form of Scot and Olly and together we took the tentative steps into that scene by signing with German label Out Of Line. Overnight we literally lost the majority of our ‘gay scene’ following we’d had before that and had to start again, but it was very much a conscious decision to leave the past behind. Luckily we had a song called ‘I Idolize You’ which got us signed to the German label in the first place and seemed to prove popular within the dark scene, so we owe that track a lot. We came back after that EP release with a full album ‘Beautiful Suicide’ that shocked a lot of people, I don’t think they were expecting such an eclectic mix of songs. The influences we’re quite identifiable, in that my love of the 80s were there, Scot had a stronger understanding of Industrial which he brought to the table, Olly has a more eclectic taste with the likes of Dead Can Dance and Underworld featuring heavily. There was also Lloyd in the band then who brought a similar 80s synth knowledge as mine to the equation. Lloyd quit before we started writing the new album to concentrate on his own music so we had a little regrouping of ideas and hopes for the album and it was decided we wanted to go harder with the sound, more underground Berlin club, and even darker than the first album, which is no mean feat considering that was called ‘Beautiful Suicide’.
Although we’ve been welcomed on to the goth scene as a band, I don’t personally feel that goth music as a genre is the main vein running throughout our work. It’s in there, but I wouldn’t say it's the lifeline. Having socialised on the scene a fair bit now in recent years I’ve come to realise that it’s a much more varied scene than what I and others may think of or associate when the term ‘goth scene’ especially that of the past, which is why our music fits in so perfectly. I think the music we discovered as teenagers, listened to in clubs and at home are so far apart that we’ve all had a very different musical education, and I feel that's what shines through in our music. The genres we grew up with cross over of course but ultimately our love and influences are so far apart that we all bring different things to the drawing board and therefore the finished product is hard to categorize in one word.
Welcome to the purple side! This is definitely one of the hardest questions