Electric Callboy

About Electric Callboy

Electric Callboy started as Eskimo Callboy in Castrop-Rauxel, Germany back in 2010, which tells you everything about their original commitment to good taste. The name change came in 2022 after years of people pointing out the obvious, but by then they'd already spent over a decade perfecting their particular brand of chaos.

They built their sound around metalcore mixed with electronic music, party rap, and whatever else seemed like a terrible idea at the time. Early albums like "We Are the Mess" and "Crystals" leaned heavy into scene kid aesthetics and breakdowns, the kind of thing that made traditional metal fans deeply uncomfortable. That was sort of the point. Tracks like "Is Anyone Up" weren't trying to win over purists.

The turning point came when they stopped caring about being taken seriously at all. "Rehab" in 2019 marked a shift toward more deliberate absurdity, bigger hooks, and production that sounded expensive. They leaned into Euro dance influences, metalcore riffs, and lyrics about partying that worked because they were clearly in on the joke. Nico Sallach's clean vocals got more prominent alongside Kevin Ratajczak's screams, and the contrast between pretty choruses and violent breakdowns became their signature move.

Then "Hypa Hypa" dropped in 2020 and the internet lost its mind. The song was ridiculous—a metal track with a whistle hook and a music video featuring dinosaur costumes and inflatable props. It went viral in that specific way where people couldn't tell if it was satire or sincere, which was exactly the band's sweet spot. Suddenly they were playing festivals across Europe to crowds who knew every word.

"Tekkno" arrived in 2022 and confirmed they'd figured something out. The album mixed Eurodance, trance, and metalcore without apology. "We Got the Moves" featured a guest spot from Conquer Divide and sounded like a nightclub closing time fight. "Pump It" was essentially techno with breakdowns. "Spaceman" featured FiNCH and became another streaming hit. The production was polished enough for radio, heavy enough for Download Festival.

They've spent the last few years touring relentlessly, playing bigger venues, and collaborating with artists from outside the metal world. The live show involves costume changes, choreography, and enough pyro to concern insurance companies. They've become festival regulars across Europe, the kind of band that draws crowds even from people who don't typically listen to metal.

Right now they're in that weird space where they're too big to be a meme band but too silly to be taken entirely seriously, which seems to be working out fine. They're writing new material, selling out venues, and somehow making metalcore appealing to people who think Bring Me the Horizon sold out. The joke's on everyone, including them.

Chaotic in the best way. Crowd's constantly moving, mixing mosh pits with people just vibing to the synths. Singer is genuinely engaged, band plays with precision even when everything feels loose. Heavy moments hit hard, melodic moments connect.

Known for Ava, Pump It, Fandom, We Got Love, Gravity

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