Ahead of the release of World Eater, Blanck Mass' visceral new record, the artist unveiled an atmospheric video for lead single 'Please'.

The 3D-rendered video depicted humanoid, yet alien figures in a forest at sunset, the luminous forms of the figures standing in stark contrast to the warm orange tones of the dying light. This video was to be the jumping off point for our conversation as Blanck Mass, aka Benjamin John Power, offered a glimpse inside the creation of the album and the themes he hoped to explore.

For Power, 'Please' was one of a few tracks that sought to give World Eater a counter to the more angry, reactive material that were coming to the fore during recording. "I really wanted to 'hypersensualise' the feeling of warmth and focus on a positive outcome from feelings that had been thrown around during the last year," Power says. "I feel like the video does it really well."

The video was directed by Michael Tan, who Power met through a recommendation from visual artist Konx-Om-Pax. While Power admits that he and Tan discussed the song and the intention for the video in detail, he was keen to avoid leading him in any specific direction.

"Once we got to a point in the discussion where I felt comfortable leaving it in his hands, I just let him roll with it," Power says. The result, Power tells me, felt like an obvious outcome given the guidance and conversation that had gone before. Without that knowledge, however, the video can seem strangely obtuse and alien.

Power describes it as being about love overcoming the damage that we cause around us. It is a call to arms, rather than a mass surrender or nihilistic view on the world. That being said, he wanted the video to be abstract enough to allow people to find their own meaning.

"I want people to form their own relationships with these entities and also with my music," he explains. "I don't want to push too much of a visual idea on to people, but I like the idea that [the video] is more of a snapshot of an idea that you can then interpret in your own way and make it relevant to you."

This idea is reflected in Power's music as well. On World Eater Power draws on more human sounds to counter the mechanical, electronic instrumentation. Voices can be heard throughout the record, but like the figures in the video they are somewhat unfamiliar. Power explains that what really interested him on this record was creating something recognisable regarding phonetics and general meaning but without communicating precisely with the listener. This is an interesting approach given that press coverage has focused on World Eater as a reaction to political events happening in the UK and US. It is a political record, but one that does so without communicating in specifics.

Power admits that he never set out to make the record with any sort of agenda. "I always approach [recording] in a naive sense," he says, "I also try - just out of personal practice - to cut myself off from any cultural noise so that I can try and make the most honest thing available to me that I possibly can." Inevitably, events happening outside of the studio seeped into his subconscious and were manifested through the explorations that went on as part of writing the album.

Due to this desire to experiment and explore these manifestations, Power admits that he doesn't have much of a process. "I don't go to the studio and say, 'right I'm going to write a track that sounds like this'," he explains. When he finds a sound, he's interested in, that's where the process for that track starts to materialise. From there it's about developing and refining a musical idea at which point it begins to "amass an emotional content".

"It's around that time that I start to structure it," Power continues, "and obviously whatever emotional content is already there at that point only gets intensified when it gets turned into a track."

This lack of any kind of formal process could also be a result of Power's effort to always push himself and his music out of his comfort zone. During the writing and recording of World Eater, Power stripped back his toolkit, limiting the sounds and options he had immediately available. One of the musical motifs that comes to the fore as a result of this pared-back palette is the use of chopped vocals.

"I think I found them very emotionally rewarding when I was actually writing the album," Power says. "I have used that technique before, but I feel like [then] it was more of a rhythmic thing. With World Eater I spent hours and hours creating these chops. I feel like I really honed in and tried to extract as much emotion as I could from them and have them say something without actually saying something."

Comparing the vocals of Dumb Flesh to those of World Eater the difference in their usage and the impact they have on the listener is telling. This, Power says, reflects the difference between the two albums. He goes as far as to describe the former as much more of a dance record compared to the "metal" of World Eater. It's an apt description for an album that boils over with rage and features some of the most exhilarating and loud music the Power has produced.

"I think that when you say loud, you don't just have to be considering volume," Powers counters. "Even in the quieter passages, I still think it's pretty heavy." This comes from the emotional weight of the album, which was something Power strived for when recording the album. "Even though the palette is restricted and there's minimal components, something that really interested me was trying to get as much weight as I possibly could. [I tried] to fill as much of the space as I possibly could." The aim (sonically at least) was to do more with less - though 'Rhesus Negative' exists as the exception to this rule.

'Silent Treatment' is possibly the most direct exploration of that idea. Power compares it to receiving the "silent treatment" from his parents as a kid. "Sometimes it's more effective than your parents screaming at you and losing their rag, when they just politely tell you that they're disappointed."

Throughout our conversation, Power carefully avoids divulging too many specifics about the meaning behind the songs. This is something that he acknowledges - and apologises for - but ultimately, is part of the reason for why World Eater exists in the form it does. "I don't want to paint too clear a picture for people so that they can form their own relationship [with the album]," he says. "I don't like being told what I should feel about something. I don't want to be told how to listen to your stuff or appreciate your art, and therefore I think it would be contradictory to tell you how to appreciate mine."

On the other hand, Power also mentions that very few people have really questioned the specifics of the politics that found their way onto the record. "That's quite telling of the age we live in and what's been going on," he says. "It's like you don't need to ask. Everybody already knows what the specifics are." Naming an album World Eater in the era of Brexit and Trump is perhaps as direct as Power was willing to get in addressing these influences, though even this, he argues, is open to interpretation.

"It could be a select few, or it could be more about our internal genetic hangovers that stop us from moving towards good," he says. "Or it could be the actual physicality of humans themselves and what they're doing to the planet." Pushed on the subject Power admits that from his perspective (and he is keen to stress this is not the only interpretation) World Eater is concerned with human beings themselves. "We are flawed. It doesn't matter what side of the fence you are on. In that sense it's an extension of Dumb Flesh."

Our conversation circles back to 'Please' and its role on the album as a balance to the negative forces that permeate through and erupt from the record. "Two tracks pretty much explain the arc of World Eater," Power says. "'Rhesus Negative' is the knee jerk reaction and 'Please' is an attempt to restore balance. I can contextualise things, but I'm dramatic. If something's bad, it's really bad, and I have to do something about that."

Blanck Mass' new album, World Eater, is out now on Sacred Bones.