According to every available online dictionary out there, the word decrepisy doesn’t actually exist. Yet it does, as the name of your band at least, and it has got to mean something. Would you care to assist in putting this semantic dilemma out of the way first, before we move any further?
Kyle: I like names like Rottrevore, Inepsy, Slugathor, Amebix, seemingly based on words but having their own aesthetic as perceived by the individual. One of the themes of the lyrics, name, and art is life in decay. The practice of rotting while alive, becoming nothing to know our essence beyond name and form. As human animals we are informed by our ancestors’ genes, genetic trauma, what we absorb in the womb, societal and familial conditioning all affecting our psyches, nervous systems, and belief systems. Mostly on an unconscious level. To rot into one’s self and digest these horrors is Decrepisy.
That is pretty much how your label describes the band as well, as an exploration of genetic trauma, deformed psyche, psycho-somatic suffering, spirit made flesh, trapped in a human/animal cage of blood and bone and nervous system through which the only reprieve is decomposing form. Purity through rot. Does this definition mean that the ultimate decomposition, in your opinion, represent the only salvation human beings can actually rely on, that purity can only be obtained through rotting, and that the disappearance into nothingness, both physically and spiritually, is the ultimate destiny of human existence?
Kyle: I do not claim that. It’s far too complex. An ego wired to a nervous system, human. No one escapes this. I think it’s a powerful practice and very overlooked in material focused cultures to be still. There is so much subtlety and depth in stillness and the unknown. The space between sounds is massive compared to sound itself. I find a sense of deep knowing and personal truth in being. There’s nothing to become in being. It’s not even a question. Divinity is inherent in breathe. Purity through rot.
Does the title Emetic Communion refer to the desired effect the album’s musical substance should ideally have on the listeners, in a sense that all of us listening to it should in a perfect world feel the urge to vomit by the end of it, thus forming some kind of grotesque communion?
Kyle: The concept of Emetic Communion is about intimacy making one sick, anxious, isolated. Two people vomiting into each other’s empty voids, trying to get whole from unconscious unmet needs. Being suffocated in the womb by the mother’s anxiety, depression, repressed anger, and grief. Betrayed and abandoned somatically. Empty words suffocate, empty touch isolates.
As musicians that all have more than one creative outlet at present, and had many more over the years, why it was important for you to form a band like Decrepisy and add it to the long list of bands that all four of you already play in, of which many aren’t all that dissimilar to this one? What kind of hole Decrepisy in particular needs to fill, what kind of purpose to serve, thirst to quench, that other bands you are engaged with fail to?
Kyle: Since I am no longer in Vastum or Acephalix, Decrepisy is my only death metal band. To me Decrepisy does not sound similar at all to any of the other member’s bands. I wrote the music in Acephalix and 1/3 of the music in Vastum so there will be similarities. For me Decrepisy is a necessary outlet for my psyche to release and honor my demons. The underworld must be met and respected as the power and majesty it is.
Speaking of the underworld, does Decrepisy in any way, shape, or form reflect your stances on life, philosophy, spirituality, religion, or is the band’s purpose to merely mirror your appreciation for this particular kind of sonic aesthetics?
Kyle: Ultimately it is an offering for anyone who loves this kind of music. When I listen to death metal, it’s all about the vibe that is created, how it makes me feel. The lyrics are an afterthought, if even that. And I think there is a lot of power energetically to words and intentions. When I write lyrics they are often something seeping through from my unconscious that I don’t fully comprehend until later.
With all due respect to Chaos Records, one would think that some bigger US based players would surely be interested in releasing Emetic Communion, labels like 20 Buck Spin or Dark Descent Records, for example. That said, why did you decide to release the album on three different formats through three different labels?
Kyle: Jonny and Charlie were working with Steven at Seed Of Doom for their Thanamagus release. They sent him some rehearsal tracks of Decrepisy and he was into it. Since Seed Of Doom is in the Netherlands we wanted a US label, Life After Death, to co-release it to cut down on shipping costs for people ordering tapes and records. Steven has been amazing to work with, he did all the graphic design and layouts for all the formats. I really knew what I wanted, grimey death metal and early Christian Death, death rock/goth aesthetic. He nailed it beautifully in a deathly way. Neither label does CDs and Chaos was interested and we definitely wanted the Mexican death heads to hear it.
Before the first Decrepsiy riff was written, while you were only contemplating the band’s future sound, were you looking to come up with something that would be as authentic and original as possible, difficult to trace in terms of influences, or was your plan precisely to honor those influences and pay them a tribute? Where Decrepisy comes from, in strictly musical terms?
Kyle: When I write music, I don’t think I am in full control of what comes, I don’t even think that I am really writing it as much as it comes through me. I think what I write is influenced by what I grew up listening to, what I am listening to currently, and something unknown. I don’t strive to be original or unique, I like to write what I want to hear. Some of my favorite death metal releases are Convulse’s World Without God, Abhorrence’s self-titled 7”, Rottrevore’s Iniquitous, Divine Eve’s As The Angels Weep, and Mortiferum’s Altar Of Decay demo. I think some of those influences come through without sounding like those bands. The creepy, crawly guitar parts are heavily influenced by Rikk Agnew’s guitar work on Christian Death’s Only Theatre Of Pain.
Is it fair to say that Decrepisy, in terms of technical ability the music requires, doesn’t push you to the edge playing-wise, and that, precisely because of it, you have more room to enjoy and feel the music while playing it?
Kyle: Completely. I want to feel it, not think about it. I like a primal regressive vibe.
Is it always necessarily more gratifying to interact with the music intuitively than intellectually, and to perform relatively simple music overwhelmed by emotion instead of the intricate, complex one, that demands too much thinking and perfect concentration at all times? Do you think that different approach may offer certain advantages as well?
Kyle: As long as it has an evil, rotten vibe but still makes you want to pump your fist, bang your head, and fuck. I like more of a lumbering slutty groove than complexity and speed. I should be wondering if I caught a disease after.
Considering that the day has only so many hours, have you ever felt that the time spent on making music interferes with the time you usually spend listening to music? How significant part of your life is consumed by music, in one way or another?
Kyle: I have never felt that way but I don’t spend a lot of time writing music. Songs and riffs usually come in spurts of creativity. I used to listen to music constantly my whole life. Now I go through seasons of silence. I prefer a balance of sensory stimulation.
If you were forced to give up one of the two, would you rather stop playing entirely for the sake of maintaining your status of a fan who’s keeping in touch with everything that’s happening in the underground, or would you gladly accept to not know anything about the music scene around you, but still being able to contribute to it?
Kyle: I don’t believe I have a choice to stop playing music. I’ve tried. It will let me know when it’s done having its way with me. I don’t give a fuck about status but I hope I’m always curious about what’s new in the underground.
How insane exactly is the work ethics of Charlie Koryn? Playing in so many bands, of which many have big plans and aspirations and probably count on a steady lineup to get there, he obviously manages to respond to all those demands and retain sanity. How would you put into words what he brings to Decrepisy?
Kyle: Charlie is an absolute monster. His drumming style gives Decrepisy dynamics, power, violence, and sex appeal. He also recorded and engineered the album.
Could you find the answer why do bands keep trying to lure him into their nests when they know that he cannot give them his all and will eventually have to leave? Is he really that good?
Would you subscribe to the notion that the authenticity of underground music and the underground culture in general is based on its subversive attitude, the absence of financial pressure, and the obligation to cater to anyone’s particular taste? Are those some of the qualities that initially attracted you to it?
Kyle: For sure. I make music that I want to hear. I love underground culture, underground hip hop, underground drag queens, you feel it when something is authentic and don’t give a fuck.
Given that the underground is the kind of counterculture that’s made by eccentric nonconformists for the sake of pleasing other, less creative and talented eccentric nonconformists, do you think that people need to be wired a certain way in order to understand and appreciate it? How would you define that particular mindset of an underground extreme metal enthusiast? Is there even a pattern to it?
Kyle: I don’t know but I love that it exists and that we all make it happen whether playing, writing, recording, touring, starting labels, packing orders, printing shirts, writing zines, going to shows, listening to music, supporting bands/labels, posting online, writing interviews, sharing the love of metal across the world.
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