Angels in Electric Chairs Frontwoman Alissa Ann Discusses the Single “Everything”

Rising out of Angels in Electric Chairs’ South Broadway scene, the Denver-based trio is quickly carving out a space that feels both visceral and cinematic. Blending melodic metalcore with industrial textures, atmospheric synths, and emotionally raw songwriting, their sound leans just as heavily into mood as it does intensity.

Their latest single, “Everything,” marks a defining moment for the band, not just sonically, but personally. Written during a period of lineup changes and creative recalibration, the track captures the tension between loss and forward motion, ultimately emerging as a statement of resilience. It also signals a clear evolution in their direction, pushing beyond traditional metalcore into something more immersive and genre-blurring.

Known for transforming their three-piece setup, vocalist Alissa Ann, guitarist Mike Miller, and percussionist Ayrton Sanguino, into a full, commanding live experience, the band has built a reputation for performances that are as visually striking as they are sonically intense.

Vocalist Alissa Ann joins us to discuss the band’s evolution, the story behind “Everything,” and what this next chapter looks like.

What is the story behind your band/stage name?

Alissa Ann: “We were looking for a new name after a roster change, and Mike and I wanted something that would be unique but also representative. It is a long name, but no one else has it. I don’t mind that it evokes its own imagery, and I hope it makes some people think.”

How would you describe your creative process?

“Every song is a little different, but it usually starts with some melodic idea and a vibe. When Mike writes a main riff, he’ll put down three to four other ideas that act as the basis of the other song sections. I have an a cappella background, so I often look at an arrangement like a puzzle. So I might reconfigure the pieces, eliminate a piece, or ask for additional pieces to work with.”

Angels in Electric Chairs

Tell us about your most recent single, “Everything.” What was your experience of making it? What went on behind the scenes? Any notable moments that stand out?

“‘Everything’ was one of the most seamless writing processes we’ve had. Mike wanted to incorporate a heavy breakdown with a prettier arrangement, and I heard and wrote the vocal melody pretty immediately. I actually had to teach myself how to sing the lines after the fact, which usually means I’ve written well for the song (rather than what was comfortable for me). I also think it’s a great hook, so that was exciting to experience.”

If you could change anything about the music industry, what would it be?

“Wow, I had this very comprehensive answer about money and sustainability and artist rights, etc. Valid stuff, but I also can’t pretend to know the best solutions to these very legitimate problems. I do know what would benefit everyone, though: more women in positions of power and leadership in the industry. Period.”

Which do you enjoy the most: writing, recording, practicing, or playing live?

“I really enjoy the writing process, even though it can be gut-wrenching at times. But there’s nothing like hearing a master when it’s done… or even hearing the versions that lead up to that final. When it’s done, I have the opportunity to listen to my music like a consumer again, just enjoy it. Even though we’re still playing the song live at shows, I feel like that’s the moment when I get to restart my relationship with a song. I love that moment.”

Do you ever get stage fright? What’s your solution for it?

“I have never had stage fright like the kind I get before our band shows. I’ve been a professional vocalist for over 20 years, and I think I got accustomed to knowing what the experience of performing would be like. But as a female in the metal scene, I truly don’t know what the exchange with the audience will be like. Not to mention the vulnerability required to perform original music well. But then I remind myself that my happy place is being on stage, and I’m the one with the fucking microphone.”

Angels in Electric Chairs “Everything” single artwork

What do you think of the current state of the genre you play in?

“It’s a really exciting time in metal! The scene has widened a bit, but the artists being noticed now are people who have been working in the industry for a long time. So maybe what we’re seeing is that the stakeholders are actually investing in the genre again. There has also been a lot of talk about guitar being re-centered in pop music. Lady Gaga’s Mayhem felt like a global moment for that… so we’ll see what happens next.”

Do you receive a lot of support from your local scene and fans in general?

“Our local scene is made up of some genuinely wonderful people. Not only do we see friends at the larger shows for legacy acts that we all love, but we also see them at the intimate venues where people are throwing down in a half-empty room. I feel like people don’t think of metal when they think of Denver or Colorado, for that matter, and while we don’t have the industry infrastructure in this state that we should… There are people working on remedying that. *wink wink hint hint*.”