At the vanguard of industrial metal, the Los Angeles based five-piece have had an uncompromising vision since their inception. “From day one, the whole project was intended to be more of a multimedia art project built on the chassis of a band,” explains 3TEETH frontman Alexis Mincolla. Being the creative director of downtown LA’s infamous tech noir club night known as LIL DEATH, Mincolla regards how this party served as the primordial black ooze that eventually gave way to 3TEETH. It was there that his flair for visual art met with Xavier Swafford’s keyboard and production skills and they began creating together. It wasn’t long after that they filled in the gaps with Andrew Means (modular synth / bass), Chase Brawner (guitar), and Justin Hanson (drums). When their self titled debut album, released on Artoffact Records back in 2014, hit #1 on iTunes, it got them noticed by TOOL guitarist Adam Jones. Jones came out to see 3TEETH play at the Viper Room, which was enough to inspire an invitation for them to join TOOL and Primus on a full US arena tour in 2016. “Going from clubs to arenas as quick as we did was a real sink or swim scenario for us, and we knew we had to step it up and learn to swim in front of 20,000 people a night,” says Mincolla. After returning from the tour, the band immediately locked themselves in the studio to crank out their sophomore release, (released on their own imprint, OMF Records). The record hit #23 on Billboard, and landed them tours across the US and Europe — headlining, and supporting acts such as Rammstein, HIM, and Danzig.

3TEETH have already begun to distinguish themselves both in the studio as well as onstage, and they’ve garnered a dedicated following hungry for what Rolling Stone Magazine called “a mix of state-of-the-art sensory overload with a take-no-prisoners level of aggression.” They’ve managed to capture the minds of community in opposition to a creative climate riddled with artifice and compliance by meditating on the importance of disrupting consensus-based reality. Mincolla once described the aims of their live show as “an ontological one night stand,” and encourages his audience to protest against their own conditioning. 3TEETH want you to challenge your own perspectives through methods of cognitive dissonance vis-à-vis their decentralized discordian network / fan club known as Operation Mindfuck.

“Our debut album was man vs the world, our sophomore album was man vs himself, and now our forthcoming third album is world vs world,” Mincolla muses how if man doesn’t create his own world, then he’s to be crushed by the world of another. METAWAR, coming out July 5th 2019 on Century Media Records, is exactly that — a sonic attack on the wide scale perception management systems that currently grip our worlds. It’s a counter-measure in the invisible silicon war of ideology that is constantly moving avatar pawns on the battleground of our social platforms. “We live in a world where we are all tethered to the same large scale prosthetic digital nervous system, and perpetually being manipulated and incentivized by the ideology de jour. Even the most independent thinkers are being pinned to one side or another as a result of it. Our goal is to jam this album in the cognitive gears that perpetuate this fiercely divisive rhetoric, by exposing the hypocrisy, idiocy, and insanity on all sides,” Mincolla says. “It’s time to carve out a non-conformist space between the left and right that doesn’t have a definable psychographic for corporations to exploit. METAWAR is here to tear down the walls of our memetic concentration camps.”

To help execute their vision for the new record, 3TEETH enlisted producer Sean Beavan, who is known for producing and mixing some of rock’s most influential industrial-strength artists, including Nine Inch Nails and Marilyn Manson. “Sean understood the fabric of where we’ve been and where we were going in a way that no other collaborator could,” says Mincolla. “Sean helped bring a certain laser-focus to us as a team and pushed us to new places.” The band took nearly a year to write and arrive at a new core programming for METAWAR, and the results are nothing short pulverizing.