Two years ago, Cate Le Bon went into the studio wanting to work on an industrial album.

“I had this image of something industrial and angular,” she shares from her home in Cardiff, Wales. “I was sidestepping, trying to outrun sitting with heartache. But I kept veering back towards what Michelangelo Dying became, and I just went, right , let’s do this, roll up my sleeves, and look this thing in the eye.”

“The thing” was the dissolution of a long-term relationship, and throughout Michelangelo Dying she writes variously with sadness, desolation, tenderness, and sometimes even the sly feelings of self-satisfaction that come in the acceptance phase. If the industrial and angular sounds she sought out at first were meant to violently tamper down her grief, there is something even more po

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