Behind the Cover: PYRRHON - Abscess Time

Harnessing from vast musical depths for one tantalizing full-length.

Throughout metal's existence, intersectionality among genres has had a significant impact on our beloved genre. Whether it be goth rock, jazz, noise, or shoegaze, bands have been able to pull from external entities to delve into new ventures, yielding great musical results. Brooklyn's PYRRHON have mastered this art. Now entering their 12th year in existence, the quartet have shifted in membership and sound, evolving far from their death metal roots to a band that refuses to latch on to the binding chains of genre categorization. Music aside, artist Caroline Harrison provides equally eclectic illustrations for each of the band's full lengths, the latest being a beautifully intricate cover for the band's forthcoming record Abscess Time.

Arriving on June 26th via Willowtip Records, Abscess Time stands as a maelstrom of sound, bridging a palette of musical elements for one cohesive listen. From the opening drum roll of the title track to the closing growl of Rat King Lifecycle, PYRRHON entertain with a record that rewards those with the patience to engage for it unfolds new layers with each passing listen. Add a new spirited album cover by Caroline Harrison and you have yourself an experience that you'll be revisiting way past release date.

We go Behind the Cover of Abscess Time with PYRRHON frontman Doug Moore and artist Caroline Harrison to learn more about their heartfelt audiovisual partnership:

'Abscess Time' is quickly approaching and quite frankly stands as representative of the growth you’ve all made since first forming a little over a decade ago. Where are you as a band now compared to when this all began in 2008?

Moore: We’re borderline a different band at this point, relative to our original lineup. Half of the membership has turned over with only myself and Dylan (guitar) being left from the early iteration at the band. At that time, we were playing what I would consider to be straightforward technical death metal whereas today, I feel we’ve moved way beyond that sound. We are arguably not even really 100% a metal band at this point. There’s a lot of noise rock, new wave, prog and all kinds of other stuff mixed in there. We’ve had a couple of drummers since then and we’re really just a lot older now too. We’re a lot more sure of what we want to accomplish with the band, which has allowed us to pursue some less idiomatic directions than we were approaching early on.

Pyrrhon was how we grew up as musicians. When we started, I was a 20 or 21 year old and didn’t really know anything about making music. We all kind of learned how to do it by doing it in the band. The people who made those first couple of recordings feel like different people to me, even the ones who are still here.

Pyrrhon has definitely evolved sonically over the years. The record is truly unconventional, bridging varying song structures with several different elements across the metal spectrum in a cohesive manner, which at times can feel forced if done wrong. How does it all come together organically?

Moore: It’s been a long process of trial and error. By the time we were working on the first LP (An Excellent Servant But a Terrible Master, 2011), we’d already realized that we wanted to reach for elements that were outside of the technical death metal framework we started off in. Ever since then, it’s been a process of gradually figuring out how to make those other influences work within the context of our songwriting and just not being afraid to fail or take risks. There’s not really any special sauce to it or anything like that, but a really important aspect of it is that we’re all students of the game. We’re all really big music fans instead of just people who make music.