ACEPHALIX have a new album out that you ought to check out immediately after you’ve read this interview. Anders Ekdahl ©2017
We all come into music with our own baggage. We want different things from the music. How does the vision you had for the band when you started compare to the vision you have for the band today? What is this band really all about? What do you want with your music?
Kyle – Creation doesn’t come from the ego/self identity as far as I’ve experienced. It just likes to take credit for that which it can’t do. There is some thing below the surface, in between the seconds, underneath the sounds that seems to be shaping and forming being.
When we started I wanted to play metal riffs on my guitar because it felt like a truth of me being expressed not possible in any other way. I’ve always written and played music for myself to enjoy and that is still true but I am also aware and inspired to write for the people who support Acephalix and want the music/band to be an offering, a gift, an opportunity for us all to have what ever experience it provokes. Anima Animus.
For me Acephalix is about creating a place to explore the shadows and what lives there, the beast, the fear, the shame, the lust and violence that is banished. Really a truer, deeper love. Lawless embodiment.
Is there a difference in people’s attitude towards you if you don’t come from a cool place like LA or NY or London?
Kyle – We don’t live in that reality. We play Underground Death Metal Punk and exist in and because of a DIY ethic and scenes across the world. The people and bands that we play with and for are about the love of the music.
When you release an album that get pretty good feedback, how do you follow up on that? How important is that I as a fan can identify album to album?
Kyle – it’s hard for me to be objective about it. It’s such an insulated process making a record. Early on we would have a whole new set of songs by the time a record came out and we wouldn’t be playing the recorded songs anymore. Now the records have caught up with us. I think each album has its own horror to reveal. It’s weaknesses to witness. Hopefully disturbing enough to create a space for the unknown to come through the incessant need to understand and the illusion of control. To be mastered by the moment naked and on its knees. Bloodied and bowed before the throne of the unknown.
What is the biggest challenge in the creation of an album? How do you write the really cool songs?
Kyle – Thinking that the creation is a reflection of worth creates suffering and hinders the flow. Meditation and listening to a lot of metal begets head banging, fist pumping jams.
What is it like to sit there with a finished album? Do you think much what people will think of it?
Kyle – it’s really exciting and fun to listen to until it’s not. We still go to work and deal with being human. I don’t think too much about how it will be received but I am grateful when people relate to it. If there’s no one to become and there’s no where to get to it’s less personal.
How important are the lyrics and what message do you want to purvey?
Kyle – The lyrics are as important as one gives their own meaning to. It’s important to me that I relate to them or that they attempt to convey something unacceptable to the conditioned psyche. Words are an interesting way to express things that really can’t be defined with a hammer. To me the Death Grunt is more percussive and not concerned with melody. It taps into what is beneath the words, the unnamable, primal creature aspect. The animal full of blood and shit and secretions foaming at the mouth to be unleashed. It lives in everyone, denied and banished by male/female conditioning and backwards insane ideas and beliefs of what it is to be human.
They don’t need to be understood to convey an experience and yet what Dan is writing is some deep shit, extremely personal and vulnerable and relatable to those who have looked over the edge of themselves and dared to descend into the unhinged, headless monster of truth. Beyond form.
Ever since I first got into metal the art work has been a main motivator in buying a record. What part does art work for album covers play in the world of the band?
Kyle – It’s like lust. It draws us in with hungry mouths and feral tongues searching for satisfaction and connection. It does not always represent what is inside. Hopefully there is some symbiosis between the content and the form. I am beyond satisfied with Adam Burke’s painting for Decreation and its representation of the concept of the album. Coupled with Greg Wilkinson’s wizardly engineering skills at EARHAMMER the finished product is filthy and satiating.
When you play live do you notice a degree of greater recognition from the fans with each new time you pass through town?
Kyle – Our recordings cannot capture what permeates our live offering. There seems to be a mixture of fear, hesitation, excitement, release, bestial undulation. Some people come to take part in the lawless container created while some are still looking over the edge with hesitation. Always an offering and opportunity for animal.
What do you see in the future?
Kyle – Nothing.