For anyone in the know and experienced in Bangladeafy’s previous five outings it’s a given that any new endeavor will be loud, obtuse and jagged, and have unexpected hooks for days. For newcomers that are hungry for something different and dare I say visionary, their upcoming sixth effort, Vulture, is exactly what the doctor ordered. Nothing here is cut and paste or par for the course, rather it’s fifteen tracks of lightning in a bottle too small to contain it. The band has trodden everything from prog-punk to noise rock to avantjazz to…well, every kind of unique extreme there is and now combines all this into a noisy-electronic-metalifabulous amalgamation the likes that no one is doing or replicating. Personally, I’ve had an absolute blast with this thing as it is precisely the unique and completely out of left field I needed but without going so far off the rails to fall into the ridiculous category. And THAT is precisely where Bangladeafy has always found their sweet spot, right where unique is adventurous and fun rather than being a chore to slog through. Trust us when we say to take a shot on this one, you will not be disappointed. And, at the very least, might come away smarter. Just ahead of the new album dropping we had the chance to pose our set of Profile questions to vocalist, synthmaster, and sampler Jon Ehlers to which he was kind enough to bang out some great answers. Strap in and check it out below then go grab your own copy of the album.

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How and when did you first get into playing music, or metal more specifically, and how did your band get its start? Any pushback from family/those close to you?

Bangladeafy began as a salvage operation of a band that the both of us were previously in. We took existing songs and re-worked them to be more appropriate for a duo and, of course, heavier. These sessions took place after hours in the back of a warehouse in Brooklyn in 2009.

How would you describe your band and what you play to someone who is completely in the dark?

Imagine if an early 2000s noisy math rock band was trying to recreate the Broken EP by Nine Inch Nails using only a drum set, a synthesizer and a sampler.

Is there one (or more) thing about your latest / upcoming album or about your band that no one will find in any interview or review that you care to divulge?

I like this question. I have constructed about 25 pieces of art, mostly paintings, for the Vulture album. None of which made it to the final cut of the artwork that is on it today. I hope to be a better painter by our next album.

Any funny stories from playing shows / tours / festivals, etc?

A few years ago we were doing a show at the legendary Saint Vitus. Towards the end of our set, over the sound of that monster PA system I heard and felt a loud crash hit the floor. From the corner of my eye, I saw a large dude completely passed out on the floor. I jumped off the stage to join the people checking up on him. He was completely snoring. Narcolepsy was my first thought. The person he was with was slapping him to wake him up. He eventually came to and made it very clear that he couldn’t afford an ambulance and that he was fine before disappearing into the night. Upon reviewing video from the show, it appeared that he took a spill while moshing. It could have turned out much worse, but once I heard his loud snoring, I had a feeling things would be alright.

What do you see as some of the great things happening in and around the metal scene (yours or just in general) and what are some of the worst things happening right now?

The crossover of electro into metal is becoming a more accepted dynamic. When I was coming up, metal was metal, and if it had anything electronic added to it, it had to stay in the realm of industrial. Today, we have bands like Author & Punisher, HEALTH, and King Yosef, whose music is probably mostly electronic elements, but they’re sharing bills and fan bases with what could be considered more “true metal,” as in guitar-focused with no electronics. Synths are becoming accepted as a loud and ferocious form of expression and not just cool studio tricks. Along with that, I’m noticing a trend of noise rock working its way into metal, with examples such as Chat Pile and The Armed.

Most folks have passions for a cause or causes that are close to them. What, if any, are some of the most important issues (social/political/humorous/etc.) for you / your band and how do you insert those issues into your music?

I think if there were any recurring topics in our lyrical content, it would be the negative impact that the wage gap and the cost of living have on a person’s dreams and ambitions, my own included. Additionally, we have multiple songs about the senseless building of massive skyscrapers in New York City that seem to offer absolutely nothing to the common person living here. Often times, my feelings are justified when I read a headline that claims the building is quite literally empty, just wasting energy and space for people who could utilize it in a more purposeful way. I can’t say any of this is part of a “cause” but I’m definitely sharing my personal experiences in the face of these issues.

Do you guys have day jobs or hobbies you want to share?

I am a middle school special education teacher in New York City. Atif is a bartender and freelance musician. In my spare time, I paint and often sell my paintings when on tour.

What advice do you have for music critics and outlets out there? How can we all better serve the genre in the eyes of a hard-working musician?

Be selective, but not too selective. Don’t lean too heavily on what your friends and associates tell you to check out. Keep an eye on what is actually pushing the envelope, even if you don’t like the way it sounds at first. It may matter more than you think and may gain you credibility points for giving an honest write up early on. Also, it would be nice for some zines and reviews to rely less on overused figurative quips like “the soaring melodies” or “completely rattled my brain.” It means nothing.

Any specific long term goal(s) in mind?

After having the lucky chance to play the Subterranean Dissonance Festival this past February, we would likely want to continue on that trajectory of being added to nuanced festivals.

When you’re not obsessing over your own material, what are some of your favorite albums to listen to currently? (Feel free to include non-metal)

In the past year, I have thoroughly enjoyed King Gizzard and The Lizard Wizard’s album Petrodragonic Apocalypse. It is such a fun metal album to throw on and sing along to. In addition to that, I found the album Sus Dog by Clark to have a ton of replay value. I was very inspired by the songwriting and tonal choices across the whole album.

What is the near future outlook for you or your band? Any specific events on the horizon that the masses should be aware of?

We have been toying with the idea of a European tour in the summer of 2025. Other than that, we’ll be popping up in various spots across the United States as per our regularly scheduled spring and winter tours. When you are a fringe band like we are, progress tends to happen very slowly but it is definitely measurable.

Summarize your band in one word. (Disclosure: If you use more than one word, we’ll probably just pick our favorite.)

Skronktronica.

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Many thanks to Jon and Bangladeafy for their time!

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Vulture will be available June 21 via Nefarious Industries. For more information on Bangladeafy, visit their Facebook page.