Singaporean post-punk band Blood Pact has reunited with the release of their latest album, Angel Fire, marking their first major release in 5 years. Formed in 2019 by Nick Wong, Keith Chua, and Mohd Farhan, the band quickly gained momentum in the local scene before the COVID-19 pandemic forced a hiatus.
Angel Fire, written and recorded in a creative burst over 2 months, delves into themes of aging, isolation, and wasted potential, blending influences from post-punk legends like The Cure, Soft Kill, and Siouxsie and the Banshees. Produced by Jared Lim, known for his work with Sobs and Subsonic Eye, the album marks a significant sonic shift for the band. With Farhan stepping down, Nick and Keith are joined by a rotating live lineup of local musicians.
Hot off their fantastic comeback at Baybeats 2024 at the Esplanade, we caught up with Nick to find out more.
After 5 years of inactivity, what inspired you to come back with ‘Flowers On My Grave’?
I needed a creative outlet. I was having a tough time in my life and wanted a distraction to keep myself emotionally and physically busy. I’m not sure how much longer I can be making music so it felt like a now or never moment.
What has changed for Blood Pact as a band since your last release in 2019?
We recorded our last EP at TNT studios, known for its hardcore punk catalogue, as a live band. Angel Fire was written and recorded entirely out of my bedroom and I got to take my time and experiment with a lot of synth parts and layers which I always wanted to mess around with but was restricted by the constraints of an hourly rate.
Angel Fire was created in just 2 months. What was the creative process like for you during that time?
We tried working on new material in 2020 during lockdown but could never push through the creative block and just kind of gave up - we kept busy by life and other bands. I’ve been wanting to make music like this for many years - dancier than what Blood Pact was, experimenting with more electronic elements but also darker and gloomier at the same time. I could never find the motivation and discipline to get to it for years. I was walking my dogs one day and a melody came to my head, I sang the tune and recorded it on my phone’s voice memos and went home and wrote 4 songs that day. When I found a way to break the flood gates open, it all just came pouring out.
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Can you tell us more about the themes of existentialism and disillusionment in the new album?
I've been reflecting a lot on aging and how life changes in your 30s. The people I used to see regularly have drifted away, and I often feel more alone, without the support system I once had. Music has been at the core of who I am for most of my life, but now, I’m grappling with the reality that success might not come, especially at my age. There’s a sense of mourning—like the window of opportunity has closed, and I’m struggling with the fear that maybe I’ve reached my peak.
Despite all this, there’s still a part of me that clings to music—not for fame or recognition anymore, but for the love of it. This record is deeply personal; it’s me confronting my fears, my past mistakes, and the limitations of time. Releasing it is terrifying, because I know the stakes. It’s not just about success—it's about being brave enough to put myself out there, knowing the odds. Even if this is my last chapter in music, I needed to do this for myself, to see what I’m still capable of and to connect with those who might find solace in these songs.
With themes like self-reflection and alcoholism in the album, how do you hope listeners will connect with the music on a personal level?
I don’t expect my music to change anybody’s lives but I want to communicate to our listeners that there are many illnesses among us that are not addressed, that are not taken very seriously and it can be written off by the people around us which can feel very isolating and can make you feel like the smallest and loneliest person in the world. Many things don’t come with an easy fix, or even any fix at all sometimes, but I hope everyone has an outlet to cope with what plagues them.
How was it working with producer Jared Lim, who has worked with Sobs and Subsonic Eye? What did he bring to the album’s sound?
Jared is a musical genius. Look at the music he’s worked on, nothing’s failed and hopefully we won’t be the first one. I sent him everything I recorded and he helped polish everything up and adjusted the tones and drum sounds and smoothed everything out. His seal of approval was important for my confidence in putting these songs out in the world. My background is very much bare bones punk rock instrumentation and I have close to no knowledge and experience with indie or pop or electronic composition. I play in Blush with Jared so I'm familiar with what he’s capable of and I knew very clearly from the start I wanted him involved with Angel Fire’s production.
After years on hiatus, how did Blood Pact’s first performance at Baybeats feel? How have fans responded to your new release?
It felt amazing, im still buzzing from it. There was a fear people wouldn't care but when we started, it made it feel worth it. We were never going to be a band that would invoke a massive reaction but just having warm bodies in the space listening to our work, thats all I need.
