Interview Pyrrhon

Pyrrhon's latest release, Exhaust, delves into themes of burnout and societal decay. In this interview, Doug Moore discusses the band's unique release strategy and creative evolution.

1. You chose to release Exhaust without any prior announcements or pre-release singles. What was the reasoning behind this decision, and how do you think it will impact the fan experience?

The traditional pre-release press cycle with advance singles and so forth feels like an anachronism for an underground metal band in 2024. With so many distractions facing potential listeners, we thought it would be easier to punch through the background noise by releasing the album without preamble, and it’s meant to be experienced as a whole anyway. It was actually Jason from Willowtip’s idea to take this approach, and we’re grateful that he was willing to venture a little outside the box for this release.

2. The band took a creative retreat to a cabin in rural Pennsylvania in 2023, which proved pivotal to the writing of this album. Can you describe the atmosphere during that retreat and how it influenced the music?

The cabin itself was tucked away in a quiet but unspectacular region near the origin of the Lehigh River. The main advantage it offered was simply a lack of distractions; we were able to write together and relax as a band without the incessant sound of clocks ticking in our ears.

3. Doug, you mentioned that initially the band struggled to find the same intensity as on previous records. How did you work through that and reignite the creative spark for Exhaust?

Our lives were all upended around the release of Abscess Time in 2020, by COVID and by various individual disruptions that tend to affect part-time bands that last into the members’ 30s. For a long time, it was hard for us to play together often enough to build much momentum. It took until early 2023 for us to find a writing and rehearsal rhythm that worked for everyone again, which was a matter of boring logistics and scheduling. Before that point, the band sputtered. I suspect that a lot of underground bands have encountered similar challenges in recent years.

4. The themes of Exhaust touch on burnout, both personally and as a reflection of society in 2024. Can you elaborate on how these themes developed and why they resonated so strongly with the band?

Well, we’re an underground metal band playing a physically demanding niche style that does not sell well. We’ve been at it for 15 years, all while trying to pay the rent through other means. It’s not the most restful lifestyle.

5. The title Exhaust came from drummer Steve Schwegler's observation about cars slowly degrading from overuse. How did this metaphor shape the album, and how does it connect to the overarching themes of exhaustion and burnout?

None of us live very close together anymore, and Steve in particular has been commuting by car from Philadelphia to New York for practices ever since he joined in 2016. Regular long-distance travel to make music takes a toll on your body as well as on the means of transport. Cars also have particular metaphorical significance in America, where they are worshipped as icons of individualism even as their engines poison the air and their frames turn motorists into chunky marinara during collisions. That mixture of tragedy, absurdity, and extreme violence felt appropriate for Pyrrhon.

6. Pyrrhon has always been known for its experimental approach to death metal, blending technicality with elements like free jazz and noise. How did the band's sound evolve on Exhaust, and what new elements can fans expect?

I’m not sure we really introduced many new ingredients on this album, though we perhaps arranged them a little differently. For me, the defining quality of Exhaust relative to our prior albums is its focus and concision. There might be a bit more noise rock in there than before as well, but who’s counting?

7. You worked more collaboratively on this album, writing as a group in a way you hadn’t before. How did this affect the songwriting process and the dynamic between band members?

Generally speaking, writing in the room tended to produce shorter and more intuitively structured songs than previous techniques did. It’s harder to go down a rabbit hole and end up with a 9-minute composition if three other guys need to be able to remember what’s going on during the writing process. Writing as a group also made it easier for all four members’ creative voices to affect the direction of the music early on, which resulted in a more unified and collective experience from song to song. 

8. One standout track, "Concrete Charlie," is loosely based on the life of Philadelphia Eagles linebacker Chuck Bednarik. What drew you to this story, and how does it relate to the broader themes of Exhaust?

Football is a shared love of the band, and since three of us grew up in the Philadelphia area, the Eagles have become a sort of band mascot. It was only a matter of time until that dynamic appeared in our lyrics. As for the specific jumping-off point, I just thought the “Concrete Charlie” nickname sounded like a great song title, and it offered a good way to incorporate this offstage personality quirk directly into our lyrics. Football is also an excellent microcosm for some of the darkest and most exploitative parts of American culture, and it felt like a natural subject to address on this album in that sense too.

9. Pyrrhon has been together for over 15 years now. How do you feel the band has grown over that time, both musically and personally, and how is that reflected on this album?

From the start, Pyrrhon has played with forces that are beyond our control. We might have a little more of that control now than we used to. I like to think that we also have a clearer sense of who we are, and how to get the most out of our efforts when we make them. Beyond that, we wake up earlier and have more joint pain than we did in 2008.

10. You recorded Exhaust with longtime collaborator Colin Marston. What was it like working with him again, especially knowing it was the last album recorded at Menegroth, The Thousand Caves studio before it closed?

It was quite bittersweet. Colin has at least mastered every “official” Pyrrhon release, and has tracked/mixed everything we’ve done since 2016. He has become one of our closest allies and a valued friend. Menegroth itself was a profoundly historic place, and we are very proud to have been a small part of it. New York City is a place of flux, and living here for a long time means accepting that places you love will be erased. Personally I’m glad that we recorded something we are so proud of during our last session there.

11. The pandemic, along with personal changes in your lives, allowed the band to pause for the first time in years. How did this period of reflection influence the direction and tone of Exhaust?

It gave us a lot of time to ask ourselves whether the sacrifices involved in making this kind of music were still worth it to us, and whether we had it in us to perform up to our own standards anymore. I think the album answers both questions with a “yes,” but listeners can make their own judgments there.

12. Now that Exhaust is out and you've reenergized as a band, what are your plans moving forward? Will there be more touring, or are you already thinking about future musical projects?

We plan to play live in support of Exhaust periodically through the end of this year and into 2025, starting with four shows in late September with the great Inter Arma. Our life situations don’t allow us to do massive 6-week crusade tours anymore, but we will pursue as many opportunities as we can.

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