I can’t remember how I came upon ACEPHALIX in the first place but I must have read about them
somewhere and then decided to check them, out. What I heard made me think bolt Thrower crossed with Amebix and with a very strong crust feel to their metal. KH / Kyle House Guitar, LI / Luca Indrio Bass, DB / DanIel Butler Vocals. Anders Ekdahl ©2012

Looking for info on the band online I found very little that could tell me what I wanted about the band. Is being secretive a big part of the Acephalix image?
KH: Fuck secrets. They are for people scared of being nothing.
LI: All it really matters is what you hear. That is what we are, that`s all we got for you. Anyway there is tons of crap about us on the internet you can look up.
DB: No. Seems to me there’s a lot of information about us online. I suppose every image is secretive in a sense though since the image conceals a much greater and vaster reality (i.e. nothing).

How important is image to a band like yours? Is there anything you’d like to say with it?
KH: Do what you love, Follow your path, embrace being nothing.
LI: Be yourself and you`ll be fine. It s really simple and it always works out. You can`t try too hard to be what you`re not, people knows anyway.
DB: Crafting/constructing image(s) is part of the creative process. So in that sense image is very important. Preoccupation with managing other peoples’ perceptions? That attachment to image is must be shed.

This might not be the smartest of questions but when asked what the band sounds like what’s you answer?
KH: Grave, Motley Crue and Driller Killer put in a Blender.
LI: It sounds like when your roommate is getting laid and your room is shaking.
DB: Depends on which record your talking about. To me the most recent record sounds like a cross between American death metal bands like Cianide and Autopsy and Finnish bands like Amorphis and Demigod.

I guess the change in people’s record purchasing also affects bands that release album on smaller labels. How annoying is it that even people on grass root levels expect to get things for free?
KH: It’s like telling the wind to stop blowing, what’s the point. There is no prize in being right. The present is the present.
LI: I don`t really care. Music is for whoever wants to listen to it. I think if someone is stealing our musc is just great.

What is it that has changed so that people today don’t think twice about downloading things illegal?
KH: The only law that can’t be broken is reality. Try changing what just happened. Only people that think they are the ones that create music feel cheated
LI: Music is for everybody it will always be. You can`t arrest a sound or try and completely own it. It`s impossible.

How important is the punk aesthetics to you in the 21st Century? Has it become even more important in today’s egocentric World?
KH: The ego does not discriminate between cultures. It’s the same ego in all humanity that needs to be special and right. Once I am aware of how it operates I can be free from its insatiable need to judge. It cannot hold self esteem so it never stops trying to get more from a false sense of superiority. I love it for the kind of dog it is and I know that I am.
LI: Today’s world is sad.
DB: Distinguishing between punk and other kinds of aesthetics doesn’t really determine what I like. I like what I’m drawn to. Personally, I’m drawn to art, music, and ideas that tend to be found in the “underground” and more obscure realms of culture, but none of these objects are necessarily punk or metal. Making “punk” or “DIY” more important aesthetically and culturally remains within the egocentric bind you are referring to–it doesn’t break out of it. Ultimately all I know are the aesthetics I prefer, the modes of being that I prefer, the aesthetic objects that I deem to be good. I try to keep the focus on my preference and not concentrate too much on what I don’t like about what other people like or what other people do. My judgment can serve to connect me with others on points of interest we share or it can create suffering because I think I’m right and they’re wrong. My experience is that it does both and is especially well trained to do the latter.

Does the whole DIY-spirit still exist in today’s underground scene?
KH: Spirit cannot not exist.
LI: I see it.
DB: Definitely. Kill Town Death Fest is a good example.

When you tour what is the single most important objective on your agenda?
KH: To eat pizza, fuck and play metal.
LI: Rocking out!
DB: Mostly to eat pastries and have a brutal growl.

Being on smaller labels I guess there is not much in the way of tour support. How do you set up an European tour and make it without having to cash out for it yourself?
LI: Touring is really hard. It`s fun but it takes preparation and you might end up losing money. Or losing your house or your job when you get back. I think record labels small or bigger ends up breaking even with the money (or close to it) or making some money. The bands are always broke, always losing money to keep doing it and living crazy life styles to keep their bands going.
DB: It’s hard. Takes a lot of hands to make happen. But it’s totally do-able.

How much do you plan for Acephalix? Do you have a master plan, an agenda for world domination?
LI: A world mass death metal orgy.

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