NEW YORK, NY – "It is, at its root, an angst ridden ‘f*** you’ song," explains IAMX’s mastermind Chris Corner, about his new single EP "VOLATILE TIMES, which will be released on September 23, 2011 via BMG Rights Management and distributed by Rough Trade. "The commercialisation of the world, of objects of people and now data is mind numbing to watch. I pity this generation of intelligent, social, tech-savvy zombies… growing up with a wall of possibility and hopeless anxiety in front of them." Always bucking the system that is the "Music Industry" and railing against the stagnancy and commercialization of art, IAMX has taken their dark, midnight electro rock offline labelwise and forged his own path, creatively and business-wise, growing away from the dead-eyed mainstream world and blossoming in a whole new direction. The frustrated and vitriolic single will be released physically as a limited run of only 500 copies, all numbered, and only available through Boutique IAMX. Copies that are purchased via the pre-sale running now will be autographed by Chris Corner.
The third single from his fourth studio album of the same name, the "Volatile Times" EP contains not only the album version of the song but also remixes by Canadian multi-instrumentalist Clayton Worbeck, Berlin duo Noblesse Oblige, British artist Glen , and by Chris Corner himself as Unfall. The remixes were done by "friends of friends, independent unique like minded artists and people I respect," he explains. "Some came to me and some had been asked. The main goal here is to create a product with depth and energy. Something with bite and something that compliments the meandering journey of IAMX. I am a fan of them all."
From the disjointed breakbeat of Clayton Worbeck’s treatment, to the dramatic retelling by Noblesse Oblige, to the paranoid spaciousness of Glen ‘s cinematic interpretation, to the mechanized industrial clash of the Unfall version, the EP embraces the daring complexity of IAMX and exposes just how differently other visionaries can deconstruct and interpret his music without losing its soul and intent. Never one to mince words in his music or in real life, his song’s fed-up and frustrated lyrics echo his feelings about the current state of pop music. "I can’t even listen to commercial lyrics now. I want no part of that pop farce," he says. "So much can be said in a song. What happened to the poetry in music? What happened to passionate abstract thought? What happened to risk? What happened to giving a sh** and saying it well? Our vocabulary is melting just like the ice caps."
IAMX’s companion video to the song (the first in which was not directed by Chris himself) was a grueling and emotional undertaking as well. "I don’t know what this video is yet," he explains. " It was the first video from this album that I was not in control of. I wanted to just walk into the shoot like a careless rockstar and feel the music. We shot over two days and the chaos increased over that time. By the end Janine [Gezang/keyboards, vocals] was the demonic, blood-soaked sex nun floating in a swimming pool and I was the drunken, crying Hersheys chocolate syrup monster in the white room of an asylum. You get the picture." The video will be released this Fall with more videos for each of the remainder tracks to follow in the future.
Always looking for ways to challenge himself, Chris plans to make big changes again – this time geographically. "We are relocating IAMX to the US West Coast for the Winter," he says. "Berlin is fierce that time of year and we don’t want to wind down into a lazy, holiday slumber. We have plans to play some low key acoustic shows, definitely LA and hopefully east coast. Then release something special for the Americans in February." He contemplates for a moment, considering the big move across the globe to the country that has always been a pleasant challenge for Chris and IAMX. He concludes with a delicious snicker, "Finally, after all the promises and the talk, we are coming to get you."