In the constantly evolving landscape of independent music, few projects attempt to embrace the theatrical extremes of storytelling quite as boldly as Rubbish Party. Their EP Let Me Take You / First World Villain arrives as a deliberately unsettling work, steeped in the macabre imagination of songwriter Evan Zorn Von Berg and the eerie sonic architecture of collaborator The Crimson Creep. Rather than chasing mainstream accessibility, the project leans unapologetically into darkness, crafting a small but intense musical world that explores obsession, arrogance, and the strange theatrics of underground culture. Across its two tracks, the EP feels less like a casual release and more like a statement of identity—an artistic manifesto that places atmosphere and narrative above comfort.
The centrepiece, “Let Me Take You,” is perhaps the most controversial and provocative entry in Von Berg’s growing catalogue. Known for writing material that flirts with grotesque themes, the songwriter pushes his aesthetic further here, building a lyrical narrative that drifts deep into horror territory. The song’s unsettling storyline unfolds through disturbing imagery and confrontational lines that evoke psychological tension rather than simple shock value. Whether interpreted as a literal narrative or a metaphorical exploration of obsession and control, the track leaves a lingering impression. Its ability to provoke discomfort appears intentional, designed to force listeners into confronting the darker corners of storytelling that most artists avoid.
Musically, “Let Me Take You” thrives on atmosphere and tension. Von Berg constructs an eerie sonic foundation through ambient textures that gradually thicken as the track progresses. The result is a slow-burning buildup that eventually releases into a heavier chorus. Edward Clutterbuck’s bass performance anchors the arrangement with a deep, steady pulse that heightens the track’s ominous tone. Meanwhile, the guitar ensemble—featuring the seasoned touch of J. Edwin Galloway alongside American players Thornton McDaniel and Dread Phantom—adds jagged, layered riffs that twist around the rhythm section. Their interplay creates a complex web of sound that feels deliberately unpolished, reinforcing the song’s unsettling character. Rather than aiming for pristine production, the track embraces a raw intensity that suits its grim narrative.
Beyond the music itself, Rubbish Party’s artistic mythology adds an unusual dimension to the EP. Von Berg and The Crimson Creep have cultivated an almost surreal persona around their project, claiming connections to reincarnated Germanic figures and fostering a strange mythology that blends history, performance art, and underground spectacle. Whether taken seriously or seen as part of the band’s theatrical branding, this narrative has contributed to a cult-like following within niche corners of the indie scene. Stories of chaotic performances, leaked videos of mysterious gatherings, and a reputation for unpredictable behaviour only deepen the project’s mystique. In many ways, Rubbish Party appears to thrive on this blurred boundary between performance and mythology.
If “Let Me Take You” represents the EP’s descent into horror-driven storytelling, the second track, “First World Villain,” shifts the thematic focus toward satire and ego. Here, the narrative centres on a self-proclaimed antagonist who embraces his role with unapologetic arrogance. The tone is less sinister and more sardonic, presenting a character study that mirrors modern excess and entitlement. Musically, the track leans more heavily into electronic textures, thanks largely to The Crimson Creep’s production work. Pulsing synth layers drive the arrangement while a sharp guitar riff keeps the energy grounded in rock tradition. As the song reaches its closing moments, the synth work expands dramatically, transforming the track into an expansive electronic finale that contrasts sharply with the claustrophobic atmosphere of the EP’s opening piece.
Ultimately, Let Me Take You / First World Villain is not an easy listen, nor is it meant to be. Rubbish Party operates far outside the conventions of contemporary indie rock, choosing instead to occupy a shadowy corner where horror, mythology, and musical experimentation intersect. For listeners drawn to provocative storytelling and unconventional sonic landscapes, the EP offers a compelling glimpse into the group’s eccentric creative world. While its themes may divide audiences, the commitment behind the project is undeniable. In an industry often driven by predictability, Rubbish Party stands apart as a reminder that independent music can still embrace risk, controversy, and imagination without compromise.
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