Leather Laces are back, and they are bringing the noise. Their new album, Intercontinental Ballistic Music, dives straight into the darker, harsher side of industrial and synth driven metal. Built over eighteen months at Devisal Studios, this record feels tight, intense, and completely immersive from start to finish. The band keeps their identity anonymous, and that choice pays off, letting the music itself take the spotlight in a way that feels bigger than any one performer.
The opening track, Extruder-Destroyer, hits hard right out of the gate. It throws you straight into the album’s mechanical, aggressive world and sets the tone for everything that follows. Across the record, Leather Laces pull off a brilliant balance between sharp synth work and crushing industrial metal, creating a sound that feels both controlled and wild at the same time.
Songs like Mind Control Techniques and Deployed to Hell dig into manipulation, control, and resistance, pulling the listener into a dystopian world shaped by cyberpunk and modern tech anxieties. The closing track, Unit Goes Home, brings everything to a haunting, exhausted finish.
Intercontinental Ballistic Music is bold, loud, and completely uncompromising. This is exactly the kind of album that sticks with you long after it ends.
Listen to Intercontinental Ballistic Music
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Congratulations on the release of Intercontinental Ballistic Music. What was the original vision behind this project, and how did it evolve during the eighteen months spent at Devisal Studios?
The original vision was pure, unfiltered sonic warfare. We wanted to build something that felt like a localized cyber-attack on the senses. When we locked ourselves inside Devisal Studios for those eighteen months, the project evolved from a collection of aggressive tracks into a living, breathing ecosystem. Devisal wasn’t just a workspace; it became a pressure cooker. The longer we spent marinating in that isolation, the colder, heavier, and more mechanical the music became. The walls of that studio definitely bled into the final master.
Leather Laces presents itself as more than just a band, embracing an anonymous and collective identity. What inspired this artistic direction, and how does it shape the way you create music?
Egos ruin industrial music. The moment you put a face to the machine, the illusion breaks. We chose anonymity because Leather Laces is a frequency, a collective pulse, not a group of personalities looking for a spotlight. By stripping away the “human” celebrity element, we are free to create without boundaries. In the studio, it means there are no individual ownerships over ideas. The collective entity dictates the sound, and we just serve as the meat-ware operating the dials.
The album explores themes of control, violence, resistance, and the relationship between man and machine. Why were these ideas important for you to address at this point in your creative journey?
Leather Laces:Look outside. We are already living in the beta-test of a dystopian future. The friction between human flesh and cold, calculating algorithmic control is the defining conflict of our generation. It felt mandatory to address this now because the line between man and machine isn’t just blurring—it’s snapping. We wanted to soundtrack that exact point of friction: the violent resistance of the human spirit against systematic programming.
Your sound combines the precision of Synth Metal with the intensity of extreme Industrial Metal. How did you approach balancing these elements while maintaining the aggressive energy that defines Leather Laces?
It’s all about controlled chaos. If you have too much Synth Metal, it becomes too clean, too polished, like a video game soundtrack. If you go too far into extreme Industrial, it can become a wall of unlistenable static. We treat the synth elements like the structural blueprint—the cold, calculating architecture. Then, we use the extreme industrial metal elements as the wrecking ball. The balance comes from letting the digital precision guide the violence, rather than fight it.
The opening track, Extruder-Destroyer, immediately throws listeners into the world of the album. Why was this the perfect introduction to Intercontinental Ballistic Music?
Extruder-Destroyer is the factory reset. We didn’t want a gentle fade-in or a cinematic ambient intro. We wanted to violently pull the listener out of their comfort zone and drop them straight onto the conveyor belt. It sets the stakes immediately. It says: “The factory doors are locked behind you, and this is the rhythm of the assembly line now.”
Songs like Mind Control Techniques and Deployed to Hell seem deeply rooted in the dystopian universe you have created. Can you tell us more about the narrative or concepts that connect these tracks?
They are two sides of the same coin in the Devisal universe. *Mind Control Techniques* represents the invisible, psychological warfare—the subtle programming, the media static, the numbing of the populace. *Deployed to Hell* is what happens when that programming succeeds and you are sent to the frontlines of a war you didn’t start. They connect a narrative of a citizen being systematically broken down, weaponized, and ultimately sent into the meat-grinder.
The title Intercontinental Ballistic Music is powerful and provocative. What message were you hoping listeners would take away from both the title and the album as a whole?
We want them to realize that sound can be a weapon of mass disruption. An ICBM is designed to be launched from afar to completely devastate a target. That’s what this music is. We are launching these heavy, industrial payloads from our studio, and we expect them to detonate in the listener’s skull, leaving a permanent impact. The message is simple: wake up, feel the impact, and resist the flattening of your humanity.
Throughout the record, there is a strong cinematic quality to the music. Were there any specific influences from literature, film, or world events that helped shape the atmosphere of the album?
Absolutely. Visually and atmospheric-wise, we were channeling the claustrophobia of classic Cyberpunk literature—think Gibson’s *Neuromancer*—mixed with the bleak, industrial grit of films like *Tetsuo: The Iron Man* and the visual dirt of old-school anime like *Akira*. Combine that with the daily feed of real-world drone warfare and cyber-espionage on the news, and the album practically wrote its own atmosphere.
Unit Goes Home closes the album on what has been described as a dark farewell. What emotions or reflections did you want audiences to leave with after hearing the final track?**
We wanted to leave them with the cold aftertaste of exhaustion. *Unit Goes Home* is the sound of the machine finally powering down after a long, grueling deployment. There’s a certain grim peace to it, but it’s heavy. We wanted the listener to sit in the sudden silence when the track ends and feel the weight of what they just survived. It’s a farewell, but it’s a warning that the factory never stays dark for long.
With this release marking what you describe as a “new era of industrial dominance,” what does the future hold for Leather Laces, and how do you envision the project continuing to evolve?
The future is expansion. *Intercontinental Ballistic Music* was just the opening salvo. Now that the grid is online, the Leather Laces collective will continue to infiltrate deeper. We are already looking at ways to mutate the sound, to make it even more immersive and unpredictable. The machine is self-replicating now. Expect more disruptions, more noise, and total audio dominance. The factory floor is expanding, and everyone is invited.
