PAIN Led By Hypocrisy’s Peter Tägtgren Unleashes Video Clip For “Call Me” Featuring Joakim Brodèn Of Sabaton; Coming Home Full-Length To See Release Via Nuclear Blast Next Month

Coming Home is the forthcoming new full-length from PAIN, the Swedish industrial metal force led by multi-instrumentalist and producer Peter Tägtgren (Hypocrisy, Lindemann).

Following the substantial success of his Lindemann project with Rammstein vocalist Till Lindemann, Tägtgren retreated to his Abyss Studios to focus on writing yet another industrial metal masterpiece. Coming Home will be released on September 9th through Nuclear Blast and features artwork by Stefan Heilemann (Epica, Lindemann, Indica).

In advance of its release, the band has unleashed the official video for the song “Call Me” featuring Sabaton’s Joakim Brodèn. The clip was directed by Ville Lipiäinen (Nightwish, Hypocrisy, Powerwolf etc.). Elaborates Tägtgren, “I’m elated to present the first video from our new album. Joakim from Sabaton joins us on this track, and it was an unmitigated blast recording it in the studio. And as for the [upcoming European] tour, we have some enticing surprises lined up for the fans – plus we are more than pleased to welcome Dynazty and Billion Dollar Baby’s to the lineup.”

Check out “Call Me” as well as the band’s lyric video for Black Knight Satellite” and three album trailers below.

Pre-order Coming Home via the Nuclear Blast web shop HERE, iTunes HERE or Amazon HERE.

In support of the release of Coming Home, PAIN will embark on a massive European headlining tour this Fall with German gothic metal outfit The Vision Bleak, as well as Dynazty and Billion Dollar Babies. See confirmed dates below.

PAIN w/ The Vision Bleak, Dynazty, Billion Dollar Babies:
10/13/2016 Astra – Berlin, DE
10/14/2016 Wuerzburg – Posthalle – Wuerzburg, DE
10/15/2016 Leipzig – Hellraiser , DE
10/17/2016 Vienna – Szene, Vienna, AT
10/19/2016 Rockfabrik – Ludwigsbur, DE
10/20/2016 Backstage – Munich, DE
10/21/2016 Les Docks – Lausanne, CH
10/22/2016 Vaudeville – Lindau, DE
10/23/2016 Turock – Essen, DE
10/24/2016 Underworld (New) – London, UK
10/25/2016 Salde Rooms – Wolverhampton, UK
10/26/2016 The Fleece – Bristol, UK
10/27/2016 Petit Bain – Paris, FR
10/28/2016 Razzmatazz 2 – Barcelona, ES
10/29/2016 ChangÃ³ – Madrid, ES
10/30/2016 RCA Club – Lisbon, PT
11/01/2016 Stage Live – Bilbao, ES
11/02/2016 Jas Rod – Marseille, FR
11/03/2016 Ninkasi Kao – Lyon, FR
11/04/2016 Nancy On Rock Festival – Nancy, FR *
11/05/2016 Music Hall – Markneukirchen, DE
11/07/2016 013 – Tilburg, NL
11/08/2016 Trix – Antwerp, BE
11/09/2016 Klubsen – Hamburg, DE
11/10/2016 Aalborg Metal Fest – Aalborg, DE
11/11/2016 Brewhouse – Gothenburg, SE
11/12/2016 Debaser – Stockholm, SE
11/17/2016 Henry’s – Kuopio, FI*
11/18/2016 Hevimesta – Oulu, FI*
11/19/2016 Nosturi – Helsinki, FI *
11/24/2016 Klubi – Tampere, FI*
11/25/2016 Lutakko – Jyväskylä , FI*
*without support

When Peter Tägtgren is ascending from the depths of his legendary Abyss Studio to take the microphone, a little musical revolution is inevitable. Because what else would you expect from Hypocrisy’s death metal veteran, who not only plays industrial metal with PAIN, but is considered to be one of the most influential producers in the metal scene (Dimmu Borgir, Children Of Bodom, Sabaton etc.), and recently launched his controversial project Lindemann in partnership with Rammstein’s frontman Till Lindemann.

Since the beginning of his career in the early ’90s, the Swedish allrounder has enjoyed diving into the extreme and has grown to be an untameable force. But this is exactly what makes him so fascinating. Taboos, creative stagnation, or genre boundaries have never existed in the world of the forty-six-year-old mastermind. And, of course, Peter Tägtgren wandered the same unexplored paths when the time came to forge Coming Home, the eighth studio release of the industrial institution PAIN. However, the path was long and winding and therefore, the writing process for the follow-up of 2011’s You Only Live Twice wasn’t all fun and games, but Peter Tägtgren is well prepared for the fight:

“Sometimes you pull your hair out and lay sleepless all night long, because you can’t figure out this one chorus or don’t know how to finish a certain song,” admits the singer and guitarist. “That’s just me: When I dive into it, there’s no ending in sight. It’s a self-destructive mechanism. But I want perfection – or I don’t want it at all.”

It is of little wonder then that PAIN delivers a revolutionary mix of styles on this new release – bizarre alternative metal meets electronic melodies – and, in addition, the band weave some spectacular orchestral arrangements into the tracks on “Coming Home,” without risking any cheesy moments or overloading the songs. The result is ten highly addictive hymns with massive depth and experimentation. With the orchestrated portions, PAIN entered a new era and seeked assistance from Carach Angren’s Clemens “Ardek” Wijers, who added some magical final touches to Tägtgren ‘s bombastic songwriting. But the album also has time to breathe with beautiful acoustic guitar intros appearing hand in hand with stormy moments, showing the band at the zenith of their creativity.

Coming Home includes drummer Sebastian Tägtgren, Peter’s seventeen-year-old son who delivers an impressive guest appearance on the title track as well as Sabaton’s Joakim Brodén who joins the team for some typically raw warrior vocals on “Call Me.”

But a PAIN release wouldn’t be a typical masterpiece without some thought-provoking topics and tales: On the callboy-singalong “Call Me” and ” Final Crusade,” the band crawls through the deepest corners of society and the human mind, while “Absinthe-Phoenix Rising” is based upon an incident in Leipzig during PAIN‘s tour with Nightwish, where the band was attacked and beat up after leaving an Absinthe bar. And of course, lovers of mystery and conspiracy theories also get their money’s worth with “Black Knight Satellite.” “Nikola Tesla, who invented the lightbulb, electricity, and other stuff, thought that he heard beeping sounds from space,” Tägtgren elaborates of the track’s inspiration, “It was around the year 1899 and it seemed like a message to him, a hidden code. He was the first one to discover it, but in the 1950s, when humans started to go into space, they heard the same noises and found out: There is some signal from a satellite out there… but it isn’t ours. And as they started their research, they found out, that people had been talking about this phenomenon for around thirteen-thousand years. The story of this so-called ‘Black Knight Satellite’ is very fascinating to me. Whether it’s true or not, I don’t know. But it definitely inspired me to write these lyrics.”