Interview: Joe Horvath- Circle of Dead Children

Happy Monday, guys. Sorry about slacking off again last week, I went to see Dying Fetus over the weekend and the couple days leading up to shows always lend themselves to plenty of excitement and distractions. But luckily there's plenty of stuff to talk about today, including a review for that show later, so get comfy. First up, we finally have another interview, one that I've been very excited about for a while now. Sit back and relax as we have a rather in-depth conversation with none other than Mr. Joe Horvath, vocalist for one of my favorite bands, the Pennsylvania deathgrind heavyweights Circle of Dead Children.


So first and foremost, thanks for taking some time to do this thing, I'm sure the new lineup change and whatnot has kept you guys pretty busy lately. We did an article about that a while ago as you saw, but can you give us any more info? What brought these changes about, was it sudden or did everyone kinda see it coming? And more importantly, how's the new lineup working out for you?

Man, we haven't been busy enough for a few years. Feeling amped and excited and having new things to work at is great for all of us right now. We've always been a band of constant set backs, but over the past several years it's been sort of different. When a key component of the unit is no longer motivated it effects everyone and slows or stalls the ability to move forward in any way. We've increasingly had a difficult time maintaining any sort of healthy band routine. It took a long time to solidify a new drummer (Matt Francis moved from Binghamton, New York to Pittsburgh to join) and even longer to produce fresh new material. The large majority of Psalm of the Grand Destroyer, for instance, had been written around 2005, despite it getting released in 2010. It's been difficult to see something you're a part of, and proud of, being let to slip away, especially given the relative success CODC has had. In the downtime I've watched the scene expand -- tons of new bands, labels, online and print media and so on. You really want to be an active part of that, you know? Frustration and discouragement had taken control of any of us left who still had the ambition to continue. So there was nothing sudden about Jason quitting and it wasn't much of a surprise. I've known and have been playing in bands with Jason since 1995, well before CODC, and my life would be different without having him as a friend and bandmate. I was never going to kick Jason out of the band, no matter what the issue was. My friendship with him and the respect I have for our friendship means more than my band. But stepping out was healthy for him, for the individual members of CODC and for CODC as an entity. Circle of Dead Children would never exist without Jason and his input, but his fire just hasn't been there for awhile. We're not kids anymore -- he's trying to move on with his life in other ways and I'd never slight him for that. We respect him a great deal for making a difficult decision that ultimately best suited everyone involved.

So far the new lineup is incredible. Drew's primary instrument is a guitar, not a bass, so the switch for him was a natural one. He's excited to be a bigger contributor and we're excited to hear his work. Drew was a CODC fan before joining in 2005 - he knows the music and the Circle sound and has worked with Brooks in several other bands over the years. We've all been friends with Brooks for a long time and he's an awesome addition to Circle. Can't ask for somebody easier and nicer to work with and his bass skills are off the hook. Everyone is happy and the nasty music is flowing effortlessly right now.


Where do you guys draw your influence and inspiration from? You guys write some pretty schizophrenic shit (I mean that in the best way possible of course), so how does one go from listening to your average (but still good) D-beat grind bands like Phobia and Nasum and then segue into the sheer insanity of Circle of Dead Children?

Play loud and basically without a set direction. [We] just wanted to play extreme metal and leave the classifications to the listeners. All the past and present members have really wide ranges of music that we enjoy. I don't think our sound is directly attributed to any particular bands or even styles of playing really… it's more of being influenced by the love and desire to make music and do our own thing. I think we've always played from our guts. The inspiration is drawn from watching and hearing bands do whatever the hell they want and being amazing while doing it. When I'm seeing a band playing live and they're making me feel frenzied and wishing I was on stage instead of them, that's inspirational. Reading lyrics in the liner notes of an album and totally feeling the words and imagery is my inspiration. There's been plenty of awesome Pittsburgh bands over the years and watching and listening to them always drove us to play. For me personally, I was moved by hearing early Incantation, Rottrevour, Hideous Mangleus, Fear of God, Morbid Angel, Winter, Napalm Death, Sore Throat and bands from that era. Assuck was a driving force for all of the original lineup at that time. But even then, nobody really wanted to sound like Assuck -- we just wanted to have something of our own that was fast and rocking, just like they had.

Another aspect of the band that I've always been a huge fan of is the very abstract lyrical concepts, things like "We Who Move With the Graven Worms" and "King Cobra vs. Queen Bee"; basically stuff that sounds cool and sounds like it should mean something, but honestly I can't quite figure it out. What goes through your head when you're writing these lyrics? Are you doing just that, using abstract imagery to try to get a message across, or are you just thinking up some trippy shit to fuck with people's heads?

Thanks a lot -- always cool to hear from somebody who pays attention to lyrics. Lyrics have always been important to me, no matter what type of music I'm listening to and I've never seen why that should be any different in this style of music. All of elements are important; the instruments, the vocals, lyrics, artwork, packaging, etc. They may not all be essential from a solely sonic standpoint, but as far as what and who you are as an entity, I think it's all crucial.

Everything certainly has meaning, or at least a value lyrically. I can't say there's total consistency with themes or song titles, but there's something always there nonetheless. I guess there's an element of self-amusement in that I try to mess with a lot of different literary techniques and incorporate imagery, allegories, couplets, homonyms, anapests, blank verses, metonymies and a lot of figurative language and so on. There's definitely not a direct plan of writing confusing lyrics, but there also definitely is a plan to not write straightforward as well.

As most people know you're also a pretty avid conspiracy theorist, as are many grindcore musicians, so how much does that play into your writing process? It's pretty much scientific fact that conspiracies and grind go hand in hand, much like gore and death metal, but CODC isn't your average grind band.


I don't think I'm much of conspiracy theorist, really. Being very analytic, at times to a fault, is part of my nature. Combine that with a pretty insatiable appetite for trying to understand the hows, whats and whys of what I don't understand, and you get what you get with me. I like answers and solutions and I like the journey of trying to find and make sense of them. If I watch any of the mainstream news channels, I feel inundated with popular conspiracy, disinformation, propaganda and outright lies and I'm pretty sure it's not my imagination [it's not, everyone who's anyone knows that the mainstream media is packed to the gills with disinformation and slanting -Ed]. Some people acquiesce to that and accept it, others do not and I suppose I'm one of the former. Seeing smoke and realizing that your house is on fire is nice, but ultimately you're going to want to know where its burning from and why if you have any desires to see it stop from burning completely. I'm a free spirit and I don't enjoy knowing that a parasitic ruling class has set up a scientifically, socially engineered society to live and die in. I think there's more to human life than being a cow or a snake.

That said, I don't think my "conspiratorial" views affect my writing for CODC as much as one might assume. Other avenues exist for me to get that sort of thing out and I use them. I try to keep a certain feeling when writing Circle stuff, but there's no template. I wouldn't even go so far as to say that CODC lyrics even accurately reflect my personal philosophies so much as they're just a dumping dock for that section of my brain.

Alright, getting away from the songwriting topic, if memory serves me right you guys didn't do much touring to support your last album Psalm of the Grand Destroyer, despite the fact that it was and still is so well liked. Since these complications with the lineup were brought to light no one's really going to hold that against you, but now that you've gotten everything worked out do you guys have any plans to get back out on the road anytime soon? I can think of at least one wannabe music journalist who would jump at the chance to see you guys live.

We did none, not even a CD-release show. Definitely disappointing. We love playing shows but have never been able to capitalize on tour offers the way we would have liked to. I've had a professional full-time job since day one and have owned a home since about day two. Those two things alone make getting time off to tour and still pay the bills difficult. Combine that with all the lineup changes, transportation and band financial issues, illnesses, etc. and you have what we've had. These days back issues add to the problem. I think the last show we played I ended up having six or seven back treatments over the course of a month to feel semi-normal again. Matt needs several months of the year to tour with Hank III while he plays drums in Assjack. Our most productive days for shows are now behind us unfortunately. That said, we're still looking to play out and hit up some of the places we've never been able to make it to in the past.

Last but certainly not least, when you guys announced the lineup changed you also mentioned that you were already working on new material as a followup to Psalm, so I gotta ask: when can we hear some of it??

New material is flowing right now and it's a good feeling. I haven't even begun working vocals into songs yet, so it's going to be a little while before there's something to be heard. No matter what, new music is on the way.


That should just about do it sir, thanks again for talking to us, do you have any other parting words or advice for the readers before you go?

Just to thank you and anyone out there who's supported CODC in any way over the years. Keep screaming. 

-BK

Breaking news: Circle of Dead Children announce big lineup change

We interrupt your regularly scheduled Youtube and porn session Saturday afternoon to bring you this bittersweet news about Pennsylvania deathgrinders Circle of Dead Children. Less than an hour ago, the band announced that they have said their goodbyes to guitarist and founding member Jason Andrews. Andrews has been with the band for more than a decade, so this certainly comes as a shock to any and all fans of the band (myself included), and worries of the band splitting up were certainly not unjustified, but luckily the band went on to say that this is not the case. The split was amicable, and long-time bassist Drew Haritan has stepped up to take Andrews' place. As for Haritan's replacement, the band also announced that they are recruiting an outside party that they call a "long-time friend and Pittsburgh metal/punk veteran", named only as Brooks. Well Mr. Brooks, you certainly have your work cut out for you, but if Circle of Dead Children has faith in you, then Mosh Rebellion does as well. The band also said that rather than letting this whole situation get them down, the new lineup has them feeling invigorated and they're already working on a follow up to last year's Psalm of the Grand Destroyer, which you guys may remember from my Best of 2010 list. I know I'm excited, and you should be too, because CODC is one of the unsung heroes of grindcore and extreme metal. Horns up to Jason Andrews, best of luck to you sir, and to the rest of Circle of Dead Children for soldiering on through some potentially very trying times. Can't wait to hear the new tunes, and you can bet they'll be up here when they're unleashed. And now you may resume your day, ladies and gentlemen.

-The Baby Killer

The Baby Killer's Top Picks ov 2010

Well folks, 2010 is rapidly drawing to a close, which means it's time to do the obligatory "best of" countdowns. However, it's difficult to label bands, albums and songs as the "best" of anything, because it all comes down to personal taste and the mood you're in. As such, I thought it would be more prudent to just compile a list of some of the releases that I particularly enjoyed this year, albums and EP's that I wouldn't necessarily put above everything else but were noteworthy and stood out. In essence I guess it's pretty much the same thing, but whatever. The compilation in question is as follows.

Defeated Sanity- Chapters of Repugnance

A lot of people might not think that slam could be tech, but those people haven't heard Germany's Defeated Sanity, and those people are missing out. Chock full of crushing riffs, spastic tempo and meter changes, jazzy drums and skull-caving slams, this album is a must-have for any brutal death fan. When it was first released, Willowtip Records marketed it as the single heaviest release of 2010, and after being subjected to the aural assault of songs like "Consumed By Repugnance", "Coerced Into Idolatry" and "Blissfully Exsanguinated", most people would be hard-pressed to disagree. The music is all over the place to be certain, but the members are all perfectly in sync with each other. Tech death naysayers may complain about the album's nonstop complexity, even going so far as to call it soulless and pretentious, but more often than not the people who say that are the elitist kvlt dumbasses who think Gorgoroth are the peak of musical prowess, so fuck them. As far as I'm concerned, Chapters of Repugnance is a landmark achievement, and not just for Defeated Sanity but for all death metal.

Circle of Dead Children- Psalm of the Grand Destroyer

After a brief hiatus, the underground deathgrind champions have returned with some of their best work to date. This album offers fifteen tracks of sheer insanity that easily stand up to CODC's earlier works, which is fitting since one of the songs is a re-recording of "Ursa Major", the opening track of their notorious first album Starving the Vultures. All of the elements the band is known for- grating guitar tones, spastic yet precise drumming, well-written abstract lyrical concepts, and vocalist Joe Horvath's ability to apparently do every vocal style known to man- are on display here, but never have they all come together so clearly and cleanly. Tracks like "Avatar of Innocence", "We Who Move with the Graven Worm" and "Refuse To Kill the Same Way Twice" will undoubtedly leave those with weak constitutions pulverized, deliriously asking if anyone got the plates on that truck. It's not for everyone, but if you can get past the grating atonality then Psalm of the Grand Destroyer will thoroughly satisfy your deathgrind appetite.

Misery Index- Heirs To Thievery

If you're looking for something to really get your head a-bangin', look no further than Misery Index's latest offering. Since this band is essentially the bastard child of Dying Fetus, it's fitting that every one of this album's eleven tracks are jam-packed with ferocious grooves that are guaranteed to get your head bobbing. For me, listening to songs like "The Carrion Call" and "The Illuminaught" is like eating potato chips- I can't do it just once, I have to keep doing it until I hate myself for it. Another highlight of Heirs To Thievery is its thought-provoking lyrics. Now, Misery Index has always had well-written anti-establishment lyrics, but I found them to be particularly pertinent to our generation on this album, most noticeably in the song "Plague of Objects", which calls out modern society's borderline parasitic dependence on the Internet (says the guy who regularly forgoes hanging out with his friends to write on a blog). Prime example: "Feeding online, absent of mind, a chorus of billions thrive", and "Troll and evade, lurk and persuade, the worst you'll find's an Error 404". Think about that the next time you're pwning n00bz or whatever the hell it is you gamers do, and go listen to this album while you're at it.

Woe of Tyrants- Threnody

Christian melodic death metal? I'd never heard of it either, but here we are, and wouldn't you know it, they're awesome. This is the third full length from this Ohio quintet, who wasted no time after last year's Kingdom of Might and expanded on their signature quality songwriting. This time around they've added a touch of keyboards to the mix, and not in a flashy, cheesy way a la Dragonforce, but rather as a simple and subtle way to compliment the guitar melodies, and it works beautifully. As with the last album, the music is powerful and has an almost triumphant feel to it, like the band made it through a long and arduous journey just before writing the songs. Maybe that's the religious overtones shining through, but whatever it is it gives the band a very unique sound that puts them at the head of the pack in their genre. Listen to the tasteful use of fret tapping in the song "Bloodsmear" and you'll see what I'm talking about. Mark my words, if Woe of Tyrants can keep this up, they're going places.

Intestinal Alien Reflux- Illegal Aliens

Now what kind of Baby Killer list would this be if it didn't have at least one good slam band? This two man death machine got my attention with their 2008 full length Exogenocide, but this album is where they truly came into their own. The production is crystal clear, the riffs are killer, and the slams are brutal to say the least. What more could you want? These Lansing, Michigan brothers are seriously underrated and deserve much more widespread attention than they're given, but then again this is slam we're talking about, so that may be wishful thinking. In any case, Illegal Aliens is not only brutal, but also a bit of a step into new lyrical territory for the band. There is plenty of gore to go around with songs like "Gurgling Vaginal Discharge" and a re-recording of "Blood Semen Orgasm", as well as tongue-in-cheek humor (watch out, he's got his probe!), but the guys also seem to have taken a bit of a political stance on this record, particularly on the subject of drugs. Songs like "Republicant", "Demacraddict" and "Drugs On War" demonstrate a clear distaste for America's drug policies (not surprising, I'm pretty sure they're both total stoners), and while this doesn't really mean too much musically, it is nice to see a slam band thinking outside the box a little bit for a change. Good on ya, guys.

Decrepit Birth- Polarity

Speaking of drugs, let's talk about Decrepit Birth. The metal community eagerly awaited the release of their followup to 2008's Diminishing Between Worlds, and to say they exceeded expectations is a gross understatement. Polarity is everything that was good about both of the band's previous albums, from the melody and technicality of their last album to the straight up brutality of And Time Begins. Matt Sotelo's expertly-composed riffs, leads and harmonies sound just as amazing as ever, KC Howard managed to lay down some of his best drumming to date on the album before leaving the band, and Bill Robinson's unique growls tell stories of space, time and the ethereal that will make you look up at the sky and wonder. Of course we all know the reason why Decrepit Birth is so damn good is because they smoke shit that would kill us mere mortals on a daily basis, but hey, whatever gets the job done. And oddly enough this is one of my favorite albums to put on when I spark up, so it all works out nicely.

Cerebral Bore- Maniacal Miscreation

In case you guys haven't realized by now, I really, really, REALLY like Cerebral Bore. I was super excited to hear that they'd signed with Earache Records, but that was well after they'd put out this monster of an album. These Scotts are proof that you don't need to play solos to be one of the best tech death bands out there; all you need are killer riffs, greased-lightning drums and a smoking hot Dutch girl on vocals. Throw in a slam or two to keep things grounded and you're good to go. You can tell by listening to the music that this is a band that truly loves what they are doing, and now that they're signed to a respectable label they have the means to keep doing it. I'm expecting big things from you Cerebral Bore, big things!

Magrudergrind- Crusher

I have a specific reason for why Magrudergrind's new EP is the last entry on my year-end list, and it actually doesn't have much to do with the music itself. It's very good, don't get me wrong, but it's really nothing special, just your typical good grindcore, as we've come to expect from them. No, the reason Crusher makes the list is because Scion sponsored and endorsed it. Many people gave Magrudergrind a lot of grief for this, saying that they were selling out and what have you; after all, grindcore is pretty much as underground as it gets, so it's understandable that there would be a huge amount of hesitation when a major company showed interest in it. Luckily for us, Magrudergrind didn't sell out at all. The new EP is just as good as anything they've put out before, and rather than using the music as a gimmick to make more money, Scion gave Magrudergrind the means to potentially reach out to more people that they wouldn't have been able to reach without Scion's help. Basically, Crusher is worth mentioning because it's impressive to see such an extreme genre getting mainstream attention without softening up.

There was plenty more cool shit this year in metal, but it's late, so I think I'll leave it at that. Let us know your favorite releases from 2010 in the comments, and here's to another year of rebellion.

-BK