Procedure Club

The Arc of Procedure Club

The pivots — what forced Procedure Club to reinvent.

1. 01

   The 2010 Flash in the Pan

   Procedure Club showed up out of nowhere in 2010 with Doomed Forever and followed it immediately with The Salmon of Doubt. They slammed anemic synth-pop rhythms against a relentless, howling wall of overdriven guitars. The contrast defined their whole sound: sweet, disaffected vocals drowned under waves of feedback. Then, as quickly as they appeared, the project went completely silent.

Influences

• The Jesus and Mary Chain — The entire structural blueprint of marrying sugary pop melodies to screeching feedback traces directly to Psychocandy. You hear it across every guitar track on Doomed Forever, where jagged noise constantly threatens to bury the vocals. It is the gold standard for that exact tension.
• Black Tambourine — Pam Berry's buried, melancholic vocal delivery laid the groundwork for modern indie noise-pop. Procedure Club lifted that exact dynamic of fragile, drowned-out singing hovering over blown-out distortion. It sounds like someone playing C86 pop through a broken amplifier.
• Cocteau Twins — Robin Guthrie's heavy reliance on drum machines paired with thick, shimmering chorused guitars established the dream-pop rhythm template. The rigid, metallic percussion underneath Procedure Club's gauzy guitar fuzz pulls straight from early 4AD playbooks. The pulse stays cold while the top end melts.
• The Ronettes — The fundamental three-chord pop progressions and call-and-response vocal structures date directly back to Phil Spector's Wall of Sound productions. Beneath all the distortion on The Salmon of Doubt, the vocal hooks are pure sixties Brill Building songwriting. Strip away the fuzz and you have a girl-group tune.
• My Bloody Valentine — The technique of reverse-reverb and burying melodic hooks beneath overwhelming drone stems straight from Isn't Anything and Loveless. Procedure Club recreated that dizzying, washed-out guitar smear on a zero-dollar bedroom budget. It turns simple chord changes into a heavy physical hum.