Pigeon Opinion Featuring an Interview with Harsh Language

“Helium Heart” by Harsh Language is a compelling blend of alt-rock grit and electronic atmosphere, sitting comfortably between intensity and introspection. Drawing from influences like Deftones, Depeche Mode, and Placebo, the track fuses heavy guitar textures with moody synth layers to create a sound that feels both familiar and forward-thinking. The instrumentation is dense yet controlled, with big, distorted riffs cutting through waves of electronic elements. The rhythm section keeps everything grounded while allowing the track’s more atmospheric moments to breathe. This balance between chaos and clarity gives the song its dynamic edge.

Vocally, the layered harmonies add emotional depth, shifting between restraint and urgency. The performance complements the track’s themes, reinforcing a sense of tension and release throughout. Overall, “Helium Heart” is a powerful and well-crafted release that highlights Harsh Language’s ability to merge electronic textures with alt-rock energy into something immersive and impactful.

Interview with Harsh Language

^> Harsh Language are described as genre defying how would you define your sound without relying on comparisons to other bands?

- it's hard as alt rock is such a broad genre, but we like saying y2k alt rock meets 80's moody electro. Our music does go in other directions, but that's the easiest/simplest way

^> You blend alt rock with electronica what was the moment you realised those two worlds could actually work together for this project?

- I've been writing music like this for close to 20 years, it's been through experimentation but also our situation. I was in an old band years ago where it was just the two of us and a PlayStation running our tracks live!

^> Your influences range from Placebo and Deftones to Depeche Mode and 65daysofstatic how do you bring such different sonic identities into one coherent sound?

Although they're different genres and styles, there's a lot of similar melodies that can still work across all of those bands. So even though the sonic 'background' changes, the note choices can still bring around a similar feel. That's what we're going for a lot of the time - our songs have a similar, consistent feel to them, even if the background could be an electro minimalist beatsy piece, or a 2 minute post punky song

^> When you are writing a track do you tend to start from a riff a rhythm or a soundscape idea?

Honestly it can be all three. Sometimes it'll come from a melody while practising guitar, or I'll think of a melody in the shower and hurry to record it into my phone.

^> How do you decide when a song should lean more into the heavy guitar side versus the electronic textures?

It goes back to feel again. I'm a big fan of contrast and dynamics and textures. It's easier these days to tell when we've put too much into a section, but also sometimes we might want a Daughters-esque noise section as well - we're very much into finding that balance and, overall, that feel.

^> You are known for combining big riffs with emotive harmonies what role does emotion play in what is often a very heavy sound?

One of my favourite bands is Converge, even though I wouldn't say I'm a fan of that genre overall. I think 'violence' without emotion/intention feels pointless, and I think that's why I vibe much more with Converge than say a band like Five Finger Death Punch.

^> Your live shows are described as frenetic loud and impactful how do you translate that energy into the studio recordings?

We often won't record a song until we've played it live a few times, as often that live environment will help a song come to life - where the bass hits you in the chest or the dynamic between a quiet section and a heavy ending. Feeling those parts through a loud amp just helps you to assemble the song - and play with the right intention - in the studio

^> Do your songs change significantly once you start playing them live compared to how they exist on record?

They can do, and To Nothing is a good example of that - some of the overdubbed guitar parts that we felt were important weren't sounding how we wanted, so that song has ended up sounding a bit more 90's shoegazey live, where we've fully embraced the wall of sound rather than concentrating on say the guitar melody in the chorus.

^> With three members all contributing vocals and instrumentation how does that shared dynamic shape your songwriting process?

A lot of the time they might start as my ideas (Sean) where I'll bring a full song demo with bass and programmed drums, but I know and trust that both Rob and Al will make those parts their own and suggest better beats, and the song will evolve from there. Rob has been supplying more ideas recently though, Helium Heart was one of his songs that he wrote a lot of the melodies and the vocals/lyrics for, so it's becoming more collaborative. We get on well together and thankfully we're not too precious about saying something "has to be done this way", so there are rarely any awkward conversations.

^> You subvert what a modern alternative hard rock band can be what rules or expectations are you specifically trying to break away from?

Aside from the musical expectation, there's can often be a lot of machismo and posturing in modern alt/hard rock - we've never really vibed with that identity and we're rather be the geeky, emotional, real people that we are. We'll often have a sense of humour in what we do, and it's not that we don't care deeply about what we're singing about or doing, it's just that's who we are! So yeah, we pride ourselves on being 'real'.

^> There is a strong sense of melancholy in your electronic influences how do you balance that mood with the aggression of guitar driven sections?

I'd say more often we don't balance it, but exaggerate it. Change in the House of Flies by Deftones would be a good example of this where you have this moody, synthy backing with minimal guitar in the verses, going into this huge, heavy chorus - it's like it takes you into the water and drags you down into the depths. Someone once described our music as making you feel like you're drowning, and it's a similar feel. We've always wanted the electro to at times be it's own thing, it's own feature - but more often we want it to feel like it's combined with what we're doing on guitar, like it's a second guitar just boosting what we're playing more musically and emotionally.

^> Bands like Enter Shikari and Oceansize are often mentioned in your orbit how do you feel about those comparisons and where do you diverge?

Happy to be compared with both of those bands - with ES those guys are much cooler than us! But they combine their ethics and beliefs well with what is much more of a party rave-core style. With Oceansize, they're the gold standard of complexity and intricacy and Mike Vennart is one of my favourite guitarists. I'd say we have a more commercial sound than them - not through a specific choice or desire to create more accessible music, it's just you write what you write really! In Pokémon terms, we're the Squirtle to their Wartortle...

^> What does “frenetic but familiar” mean to you in practical terms when building a track?

It's come from gaining a real confidence over time that we've found our 'sound', like there are times when we might just want to create pure chaotic energy in a section, anchored by the sound and feel of our sound. So it doesn't matter if we're making noise because it still feels like...us.

^> How important is atmosphere versus raw energy when you are finishing a song?

It really depends on the song and the feel. We have a new song called 'Oxytocin' coming out in the summer, where over the duration of the song, it goes from this intricate, pretty first half, and the second half has this building, emotional crescendo where we really threw everything at it - the vocals, the guitars, the drums and the melodies.

^> What do you want people to feel physically and emotionally when they leave a Harsh Language show?

Physically? Well. Emotionally, like they've just come out of a great group therapy session - connected, satisfied and content.

(•)> That's all, Folks! Check out Harsh Language on the Pigeon Opinion Playlist