Calgary-based indie-rock outfit Summer Bruises are releasing their sophomore album, Out of Body, recorded at OCL Studio with producer Lorrie Matheson.

The record asks the listener to face the archetype of the predator – internal, external, figurative, or literal. From cartoonish vampiric characters in “Sang Crême Glacée” to the volatile intensity of “With Me or At Me,” the album wrestles with abusive relationships, loneliness, self-reckoning, and the desire to heal. Lead single, “Death Disco,” pulses with unrelenting energy, balancing goth-inspired tension with a sharp post-punk edge.

Musically, Out of Body hears Summer Bruises leaning into darker textures and isolating atmospheres compared to their debut. “As the album’s music and lyrics are ‘colder’ than our debut, Light to Waste, we isolated ourselves from each other in different rooms during recording or finished our tracks individually,” explains guitarist Aaron Smelski. “This was intentional and encouraged by our producer, Lorrie Matheson. Overall, it has a colder feel – similar to a Joy Division album – than warm cohesiveness like our previous record.”

The cold, drum-machine-inspired percussion and discordant piano break open the artery of lead single, “Death Disco,” creating a danceable yet uneasy atmosphere. While much of the band’s debut Light to Waste LP came together with harmony and ease, “Death Disco” was the first time Summer Bruises encountered creative friction. “Don’t worry – we still love each other,” they clarify, “but it was the first time we really had to navigate through tension and find a healthy way forward.”

1. What inspired the theme or concept behind Out of Body?

I think thematically we’re consistent. Love, loss, relationships. Maybe at times a touch of criticism of the world around us. The usual.

2. How do you feel this album represents your evolution as a band?

Our first record was partly written, recorded in isolation. Not by choice. We were also still getting to know each other. So, hearing that record has a loneliness to it. A darkness. The second was a very thoughtful project. Written as a group, and by now very comfortable with each other. Picking up on subtle musical cues, or obscure movie references, or whatever else inspires us. We are now speaking the same language. We still made the decision to record in a sort of isolation. Death Disco is an extreme example of this. But now the record comes across as something larger.

At times intense. And others euphoric. I don’t think we’re really a band to dwell in the past, we’re hardly in the present. We are constantly looking to move forward, wanting to try something new. One story can easily lead to another. But how you tell that story is what really excites us.

3. Is there a specific moment during the album’s creation that you’ll always remember?

We really came to appreciate how easy it is to write music together. It feels almost magical. Because everyone is very open to ideas, and everyone brings something to the table. It’s easier to make creative expression the goal. It’s a free space. Which helps because our interests and musical tastes are pretty varied. 

4. How does the “Death Disco” video reflect the themes or story of the song?

The video is right in our wheelhouse. It’s dramatic and fun. It’s theatre! We love to expose ourselves through our music. So having a video like this helps elevate that expression.

5. Were there any scenes or visuals that pushed you creatively or emotionally?

While we do pull inspiration from everywhere. Most of it comes from emotion. Writing about the pain of loss, the bliss of love. Or just sex. The things we all do and feel but don’t express openly enough. We hope that what we’re doing comes across as an attempt to connect with everyone.

6. What do you think the music video adds to the song that the audio alone cannot?

It’s so easy to visualize something as darker than it is. To take things too seriously. It’s ok to expose yourself. Wear your heart on your sleeve. The video is meant to be fun. We like new wave cinema, gothic. We’re all suckers for the dramatic.