𝖘𝖚𝖎𝖈𝖎𝖉𝖊 x 𝖞𝖔𝖚𝖙𝖍’s “WORMGOD (from my cradle to your grave)” Holds Up a Mirror to Modern Society

Punk Head: Why was 2006 the moment worth sending a message back to?

ĐɆ₦₳Ɽł: This year was the year of my first musical fascinations. It was also the year when the first spark of passion and dreams connected with creating music appeared. It was then, as a young boy, that I wrote down my first ideas for songs that I imagined in my head. Twenty years later, those ideas have been realized and brought to life on our latest album.

It was during that period that the early sketches of songs such as “The Anthems”, “Magic Boy”, “Alone In The Dark” and “WORMGOD” were created (although the latter had a different title back then). A childhood creation was transformed into reality, and something that initially seemed like an impossible dream has finally been achieved.

In accordance with the story told throughout the album, the record is a message sent back to that young boy - a message telling him to believe in that one dream and to make it his goal. This is also an important part of the message behind the new album: dreams can come true if you continue to fight for them with patience and determination.

Fight for what you believe in.

Punk Head: Electro-industrial has always reflected the anxieties of its era. What does it need to say in 2026?

ĐɆ₦₳Ɽł: I like to think of industrial music as a mirror of society or the world, in which its true face is revealed - depraved, vile and cruel. It is an image that society is unable to accept, so it drowns it in a sea of glamour, hides it beneath superficiality, and covers it with false kindness and moral posturing.

Since the days of Throbbing Gristle, this fascination with the ugliness of society has caused outrage, with the music and performances often being labeled as controversial - people do not like to hear the truth about themselves. And if electro-industrial in 2026 should say something, it should be a return to those roots - a return to exposing the ugly truth about the current world. And the ugly truth is that we are living in a creeping dystopia, and cyberpunk is no longer merely a science-fiction genre, but a vision that is increasingly becoming reality.

This is exactly the kind of direct image of the world that we present in our latest single, “The Death Factory,” which is a depiction of the world and life from the perspective of an average disposable human being, ground up and spat out by the system that feeds on them.

Punk Head: The internet of the early 2000s often felt limitless. Today's internet feels much more curated and commercial. Has that shift changed the way you create?

VłØⱠɆ₮: I think the way the internet looks today has changed the way most people present their work. In a way, we have all been forced to adapt in order to break through, stand out, or capture people’s attention. I suspect that many people are not even aware of it.

At this point, the work of young bands and projects is often reduced to reactions on social media, a few-second reels, and similar formats. I think this is exactly why we create the way we do - we are not chasing trends or trying to please the algorithm at all costs, but we use the same tools as creators who also operate (and, for the most part, still primarily exist) on the internet.

Punk Head: The record is divided into ANNUNCIATION, ADOLESCENCE, and ASCENDENCE. Those titles almost sound religious, while the music draws from industrial culture and cyber aesthetics. How consciously were you playing with spiritual imagery alongside technology?

ĐɆ₦₳Ɽł: Although technology - primarily in the form of new media - has, in many ways, taken the place of religion and assumed its role as the “opium of the masses,” our approach to this subject is far more introspective. The album opens with a reference to Nietzsche’s concept of God and his death - the collapse of all external sources of value and the rejection of imposed authorities as a crucial step toward transcending one’s own limitations, reaching one’s full potential, and becoming the demiurge of one’s own existence. ₩ØⱤM, the album’s central antagonist, undergoes this transformation: from a fragile being, dependent on and harmed by the external world, into a godlike entity that creates its own existence, assigns meaning to it, and actualizes its own vision of itself. Through this act of radical self-creation, we promote the only true faith—the faith in oneself and one’s own capabilities. This is the first doctrine of the church of WORMGOD. Join us today.

Punk Head: Your aesthetic references a generation raised online before social media became algorithmic. Do you think that experience created a different kind of artist?

VłØⱠɆ₮: Yes, I believe so. I grew up learning how to create something, not how to promote it. Nowadays, your identity is being monetized at every step. There used to be far less pressure to create a consistent persona for yourself and prove to everyone (most often to complete strangers) that you are authentic.

I think that in the 2000s, creating anything - whether it was music, videos, or graphics - and sharing it online was not about constantly reaching a larger audience, but about finding those who would understand and truly feel what you wanted to communicate. The greatest value was placed on the work itself, not the creator, due to the widespread anonymity. Nowadays, we have stripped ourselves of that anonymity, and it often feels like art itself has become merely a pretext for promoting one’s own persona.

For me, 𝖘𝖚𝖎𝖈𝖎𝖉𝖊 x 𝖞𝖔𝖚𝖙𝖍 is a project that I do not intertwine with my private life. Art remains art, and it is what expresses my authenticity to the audience.

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