HEALTH

About HEALTH

HEALTH started in Los Angeles in 2005, three guys who wanted to make noise that felt physical. Jake Duzsik, John Famiglietti, and BJ Miller came out of the noise rock scene but never quite fit there. They weren't trying to punish you with volume for its own sake. They were building something more hypnotic, using repetition and texture the way industrial bands did, but filtered through post-punk structure and an almost pop sense of dynamics.

Their self-titled debut in 2007 got attention for how it balanced brutality with catchiness. Songs like "Crimewave" showed they could write hooks that stuck, even when buried under layers of distortion and drums that sounded like demolition work. The Crystal Castles remix of "Crimewave" became this weird crossover moment, introducing them to people who'd never touch a noise rock show. It was probably their first taste of how collaboration could expand what they were.

By 2009's Get Color, they'd refined the approach. The production was still abrasive but more controlled. "Die Slow" and "We Are Water" felt like actual songs, not just exercises in texture. They were starting to figure out how to make aggressive music that didn't exhaust you, that actually built tension and released it in ways that felt intentional.

Then came the video game soundtracks. Max Payne 3 in 2012 was the big one. Suddenly they were scoring action sequences, learning how to write music with narrative purpose. It changed how they thought about structure and mood. You can hear it carry over into their later work, this cinematic quality that makes everything feel like it's building toward something.

DEATH MAGIC in 2015 marked a real shift. They'd absorbed enough electronic music to let it reshape their sound. The songs were darker, more industrial, more willing to live in atmosphere. "New Coke" and "Stonefist" worked just as well in headphones as they would rattling a venue. This is also when their remix and collaboration habit really kicked in. They've worked with everyone from Soccer Mommy to Perturbator, treating genre boundaries like polite suggestions.

VOL. 4: SLAVES OF FEAR came out in 2019, leaning further into industrial metal territory. Features from Poppy, Street Sects, and others turned it into this dark carnival of heavy music. Then they released DISCO4 the same year, splitting the difference between accessibility and aggression. The Nine Inch Nails influence was never more obvious, but they'd earned it by that point.

They've spent the last few years doing more collaborative work, including a whole album with Street Segal. They're still making music that sounds like controlled chaos, still figuring out how heavy and catchy can coexist. After nearly two decades, they're one of those bands that never quite broke through to mainstream recognition but influenced a whole wing of heavy electronic music.

HEALTH shows are sensory overload in the best way. The crowd gets genuinely physical, not aggressive but moving with purpose. Their visuals are integral, not decorative. Sound is immense. People leave damp and a little disoriented.

Known for Space Hound, Steal Money, Cybernetic Organism, We Are Water, Die Slow

See HEALTH Live