Hiya Nicholas, thanks for joining us in the virtual RGM lounge today. Grab a brew and take a seat. Thanks for joining us today… Tell us a bit about where you are from and how you got into music?
I’m based in Brooklyn, New York. I got into music the way many people in this genre do – by looking for a way to externalize the internal noise. I grew up on the 90s industrial and nu-metal wave, bands that merged mechanical precision with raw, organic rage.
GLDN was born out of a need to modernize that sound, stripping away the nostalgia to build something colder and more reflective of the current era.
What’s the live music scene like in Brooklyn right now? Anyone we should be looking out for (bar you, of course)?
Brooklyn is ruthless, but it forces you to be sharp.
The rent is high, the venues are disappearing, but the art that survives is usually undeniable – most good art is born out of desperation or conflict. The heavy scene here is resilient because it has to be.
There are a lot of great bands in the local scene. I’d say to keep an eye on Eric Raven, Cohort B, and Don Pardo.
Do you think it’s easy to become a victim of our surroundings sometimes?
Absolutely. That concept is actually central to my new single, Vessel. The entire world now lives in a digital architecture specifically designed to extract value from us – whether it’s attention, money, or emotional labor.
It’s almost too easy to become just another component in that machine. The new single is about acknowledging that trap and trying to break the mechanism, or at least scream loud enough to rattle the cage.
What are your ambitions for the band?
Of course, I want the band to be successful, but I’m not interested in just fitting into a playlist. I want to create a world that people can step into – visually, sonically, and thematically. I want to make art that matters beyond some fleeting social media hype. The goal is to build a discography that feels like a coherent document of the times we’re living in, without compromising the aggression that makes industrial metal what it is.
What’s your favourite social media platform to use and why?
I’d say that Instagram is currently the most useful because it allows for visual storytelling. The visual aesthetic of GLDN is just as important as the audio, and it always has been.
Instagram has also been a valuable tool when it comes to connecting with other creatives. I refuse to laud any social media platform more than is absolutely necessary, but I have to give credit where it’s due.
We believe it’s essential to have a presence on Facebook, Instagram and X to introduce yourself to all the different types of audiences out there, what’s your thoughts on that?
I guess it’s a necessary evil. In the current “content economy” – if you aren’t visible at all times, you don’t exist. I view those platforms as tools rather than social spaces. They are the broadcast towers for the signal. You have to play the game to get the art in front of the people who need to hear it.
What’s your view on the Music industry today?
It’s oversaturated and driven by metrics rather than intent. But the flip side is that the gatekeepers have lost their keys. You can build a global audience from a bedroom in Brooklyn if the work is good enough. It’s a trade-off: more noise, but more freedom.
What’s your thought on AI generated music?
A machine can replicate a sound wave, but it can’t replicate intent or real emotion. It can’t feel hate, it can’t feel loss, and it can’t experience the “trauma economy” that’s central to our new song. AI will never replace the visceral reaction of a human screaming into a microphone because they have no other choice or avenue of expression.
In short: fuck AI generated music and anyone who tries to pass it off as “art”.
What’s the biggest thing you have learned recently as you progress with your music?
That “precise chaos” takes time. I’ve learned to be more calculated with my output. It’s not about throwing everything at the wall; it’s about executing a specific vision with intent. Also, building genuine relationships with people in the scene – journalists, bookers, other bands – is worth more than any algorithm boost.
What’s currently in your ears and on rotation at the moment?
I’m always revisiting the classics – The Downward Spiral, Twitch – but lately, I’ve been listening to a lot of Spiribox and Poppy.
What was your worst experience on stage? Any funny stories to share?
I think the worst experience I’ve had on stage thus far was having no choice but to perform with band members that I found out had betrayed the trust of the rest of the band. I knew I was going to kick them out, but the show had to come first.
Got any fun, funny stories from life on the road?
We’ve only gone on tour once, but I think exploring small town America always feels like a bit of a fever dream. It’s almost surreal to see how empty these smaller cities are after being in New York for so long.
It was a lot of fun, though; we stopped at pretty much every secondhand store and record store we could while we were on the road. As you can imagine, we came back to Brooklyn with a pretty weird collection of useless things we had thrifted.
I hear you have new music. What can you tell us about it?
Our new single Vessel drops February 6th. It’s an industrial-metal indictment of the “Trauma Economy” – where pain is sold as content. We have abandoned the organic grit of our earlier work to establish a colder, more clinical sound. We’ve gotten some great reactions so far, though. My personal favorite quote has to be this one: “nihilistic rage distilled into less than four minutes”; can’t really sum it up better than that.
What was the recording process like?
Somehow, it was both very calculated and extremely erratic. The whole idea of the sound this time around was attempting to merge the mechanical dissonance of 90s industrial with the high-fidelity aggression of modern metal. So, when it came to vocals in particular, it wasn’t about capturing a “perfect” take; it was about capturing the most violent texture.
Would you change anything now it’s finished?
No. Once it’s out there, it belongs to the listener.
Is there anything else you would like to share with the world?
Vessel is out everywhere tomorrow. Play it loud. Break your headphones. Piss off your neighbors.
FOLLOW GLDN HERE // PRE ORDER HERE
🇺🇸 FOR MORE NEW MUSIC NEWS FROM THE USA CHECK OUT RGM USA 🇺🇸