BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:410@kulturkarte.servus.at SUMMARY:PORTRAYAL OF GUILT\, Spike Hellis DTSTAMP:20260808T001927Z DTSTART:20261127T200000Z DESCRIPTION:→ Mehr auf kapu.at\n[https://kapu.at/event/2026/11/27/portrayal -guilt-spike-hellis]\n\nPORTRAYAL OF GUILT:\n\nPortrayal of Guilt announce new album …Beginning of the End\, a curious title for\na band that has tr eated each release like a new creative start\, constantly\nreinventing the mselves since their inception less than a decade ago. …Beginning\nof the E nd embraces both the groove and avant garde\, revisiting the raw\,\nteeth- gnashing intensity of their previous work while toying with nu-metal\,\nal ternative rock\, trip hop\, dark ambient and other disparate influences. T he\nlatest effort feels like a band that has traversed every shadowy corne r of heavy\nmusic\, distilling their decade of innovation and knowledge in to a singular show\nof force. \n\nPortrayal of Guilt share their first pre view of …Beginning of the End with lead\nsingles “Ecstasy” and “Human Terr or" which together capture the album’s dynamic\,\nexpansive direction. Bot h are available across streaming platforms today via Run\nFor Cover alongs ide a classic\, sinister video for “Ecstasy”\, directed by Craig\nMurray\, and a visualizer for “Human Terror”.\n\nhttps://portrayalofguilt.bandcamp .com/music\n[https://portrayalofguilt.bandcamp.com/music]\n\n \n\n \n\nSPI KE HELLIS:\n\nLos Angeles based electronic duo Spike Hellis comprises of C ortland Gibson and\nLainey\, who got their start on Halloween of 2019. The y self-released their first\nfull-length\, self-titled album in.   April 2 022\, under their imprint Over-Pop.\n\nThe album chaotically shifts pace b ack and forth\; the songs running into one\nanother with no time in-betwee n. The record opens with “Control (Rage)”\, a\nlayered\, firm-handshake bo dy-music track designed to hijack the amygdala. The\nkick drum resembles t he steady flash of a panic button. You press it\, but\nnothing happens—no relief. The irregular placement of snare matches Chang’s\ncries of dysregu lation\, spiraling red-eyed after having lost command asking\,\n“Will I re gain control?” While presented as a song of despair\, optimism and\ndeterm ination shine through in the final line as the question is taken back and\ nturned into a statement\, “Watch me regain control”. This is a theme that \npermeates throughout the album: Taking challenging times of despair and coming\nthrough the other end with hope and optimism. Spike Hellis (S/T) w as made with\nthe intention to feel jolting. Techno-tinged “Flight” is an SH-101 track wherein\nlyrical instructions for escaping a dream are chante d over the iconic rubber\nband sound\, with the claps paying homage to Cha rlie’s “Spacer Woman”. “Slices”\nis the funky first single which leads int o its supplementary counterpart\,\n“Stitches”. Footsteps grow louder until it opens into a dark waltz. Samples of\nWilliam S. Burroughs cackling rin g out over Emulator arpeggios until we arrive\nat “Teardrops (Kisses)”. Wh ile it is perhaps the most light-hearted track on the\nalbum sonically\, t hemes of social punishment and isolation push through the\nsurface to reve al conflict at its core. Chang and Gibson trade off cries of\nshame and hu miliation while distorted synths\, swirling in polyrhythms\, close out\nSi de A.\n\nSide B continues with the song “Help”—a straight-forward\, freest yle number with\na pinch of synth-pop. The disjointed “Cause of Death” may be the most\nchallenging song on the record. Floating between major and m inor scales and\nheavy handed sampling\, this track takes Spike Hellis fro m the dance floor to the\nspeedway. Lacing each verse with the line “I nev er rush\, but I like to speed”\, a\nnod to taking risks and enduring hards hips in favor of triumph in the long run.\nArguably the biggest cut from t he record is the closing track “Mouth”. This\nminimal track winds it’s way through a four-verse build. Chang’s pitch-shifted\nvoice softly narrates a catch-and-release scenario in which baiting fish is used\nas an allegory for manipulation. “Baby look at you\, setting your hook in my\nmouth – Re el me in\, rip it out”.\n\nSince finishing the album\, Spike Hellis has hi t the road hard with zero\nhesitation—completing two full US tours and a h andful of smaller runs within the\nspan of one year. They’ve performed in good company with fellow artists and\nfriends such as ADULT.\, Kontravoid\ , Choir Boy\, Soft Kill\, Portrayal of Guilt\,\nPlack Blague\, Pixel Grip\ , Twin Tribes and many others. They have also been\ninvited to play at fes tivals including Cold Waves\, Substance\, Sanctum\, Sound and\nFury\, Verb oden and Vampire’s Ball.\n\nBlasting their bleak outlook and spreading the ir gospel of disenchantment and\nsarcasm\, Spike Hellis announces their ar rival. URL:https://kulturkarte.servus.at/event/portrayal-of-guilt-spike-hellis GEO:48.3008184;14.2819299 LOCATION:KAPU - Harald-Renner-Platz 1 / Kapuzinerstr. 36 4020 Linz STATUS:CONFIRMED CATEGORIES:Konzert X-ALT-DESC;FMTTYPE=text/html:

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PORTRAYAL OF GUILT:

Portrayal of Guilt announce new album …Beginning of the End, a curious title for a band that has tr eated each release like a new creative start, constantly reinventing thems elves since their inception less than a decade ago. …Begi nning of the End embraces both the groove and avant gard e, revisiting the raw, teeth-gnashing intensity of their previous work whi le toying with nu-metal, alternative rock, trip hop, dark ambient and othe r disparate influences. The latest effort feels like a band that has trave rsed every shadowy corner of heavy music, distilling their decade of innov ation and knowledge into a singular show of force. 

Portrayal of Guilt share their first preview of …Beginning of the End with lead singles “Ecstasy” and “Human Terror" which together ca pture the album’s dynamic, expansive direction. Both are available across streaming platforms today via Run For Cover alongside a c lassic, sinister video for “Ecstasy”, directed by Craig Murray, and a visu alizer for “Human Terror”.

https://portrayalofguilt.bandcamp.com/music

 

 



SPIKE HELLIS:

Los Angeles based electronic duo Spike Hellis comprises of Cortland Gibson and Lainey, who got their start on Halloween of 2019. They self-released their first full-length, self-titled album in .   April 2022, under their imprint Over-Pop.

The album chaotically shifts pace back and forth; the songs running into one another with no time in-between. The record opens with “Control (Rage) ”, a layered, firm-handshake body-music track designed to hijack the amygd ala. The kick drum resembles the steady flash of a panic button. You press it, but nothing happens—no relief. The irregular placement of snare match es Chang’s cries of dysregulation, spiraling red-eyed after having lost co mmand asking, “Will I regain control?” While presented as a song of despai r, optimism and determination shine through in the final line as the quest ion is taken back and turned into a statement, “Watch me regain control”. This is a theme that permeates throughout the album: Taking challenging ti mes of despair and coming through the other end with hope and optimism. Sp ike Hellis (S/T) was made with the intention to feel jolting. Techno-tinge d “Flight” is an SH-101 track wherein lyrical instructions for escaping a dream are chanted over the iconic rubber band sound, with the claps paying homage to Charlie’s “Spacer Woman”. “Slices” is the funky first single wh ich leads into its supplementary counterpart, “Stitches”. Footsteps grow l ouder until it opens into a dark waltz. Samples of William S. Burroughs ca ckling ring out over Emulator arpeggios until we arrive at “Teardrops (Kis ses)”. While it is perhaps the most light-hearted track on the album sonic ally, themes of social punishment and isolation push through the surface t o reveal conflict at its core. Chang and Gibson trade off cries of shame a nd humiliation while distorted synths, swirling in polyrhythms, close out Side A.

Side B continues with the song “Help”—a straigh t-forward, freestyle number with a pinch of synth-pop. The disjointed “Cau se of Death” may be the most challenging song on the record. Floating betw een major and minor scales and heavy handed sampling, this track takes Spi ke Hellis from the dance floor to the speedway. Lacing each verse with the line “I never rush, but I like to speed”, a nod to taking risks and endur ing hardships in favor of triumph in the long run. Arguably the biggest cu t from the record is the closing track “Mouth”. This minimal track winds i t’s way through a four-verse build. Chang’s pitch-shifted voice softly nar rates a catch-and-release scenario in which baiting fish is used as an all egory for manipulation. “Baby look at you, setting your hook in my mouth – Reel me in, rip it out”.

Since finishing the album, Sp ike Hellis has hit the road hard with zero hesitation—completing two full US tours and a handful of smaller runs within the span of one year. They’v e performed in good company with fellow artists and friends such as ADULT. , Kontravoid, Choir Boy, Soft Kill, Portrayal of Guilt, Plack Blague, Pixe l Grip, Twin Tribes and many others. They have also been invited to play a t festivals including Cold Waves, Substance, Sanctum, Sound and Fury, Verb oden and Vampire’s Ball.

Blasting their bleak outlook a nd spreading their gospel of disenchantment and sarcasm, Spike Hellis anno unces their arrival.

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