If metal on its own is a very insular genre, then death metal is the tiniest doll within the sphere of the headbangers Matryoshka. So when Rolling Stone and Pitchfork take notice, then you’re definitely doing something right. Such was the case for Rochester, New York upstarts Undeath, whose debut full length offering, Lesions of a Different Kind, immediately tossed a gravestone into the putrid pond of the death metal scene, causing ripples to be felt by newcomers and seasoned veterans alike. It’s primal brutality was only matched by its technical prowess, and it’s sense of definite clarity and showcasing of each individual instrument set it apart, and also caught the attention of The Black Dahlia Murder’s Trevor Strnad, who provided guest vocals on the record.
Now, the band is out to prove themselves out in front of live audiences on their first tour post pandemic, and their biggest tour to date. Joining longstanding titans like Carnifex, Rivers of Nihil, and the aforementioned Black Dahlia Murder, Undeath’s guitarist Kyle Beam had some time on the road to catch up and speak about gaming, how the tour has been, and the joy and necessity of collaboration in metal.
What is the scene like for metal in the Western New York area? Does the legacy of bands like Cannibal Corpse being from that area inspire you and give you encouragement to be the next trailblazer, or to keep the mill turning?
Kyle Beam: “A couple of the dudes from Mastodon are from Rochester and there’s a lot of dudes out there from Rochester still making metal. When I was a kid, I’ve always been a huge Cannibal Corpse fan. They were one of the first bands I got into when I was getting into underground music. They’re a huge inspiration to us. Masterful songwriters, awesome riff writers…they definitely inspired us to try not to suck.”
You guys have been praised all over for Lesions Of A Different Kind. What stands out is the clarity of the record and how you guys managed to isolate the riffs and solos just enough to really showcase how you’re just absolutely smashing them out and grooving. When you look back on creating this album, how does it hit you differently now, and is that production tactic something you’re planning on carrying forward? Do you think there’s going to be a completely different vibe for whatever you do next?
Beam: “I will say that we have the same engineer this time around for our new music, but this time we had him mix our music. I think our new music sounds more natural. I think it just sounds better. We definitely haven’t stopped writing since the first demo. We get home, crank out some riffs, see where they go…I like doing it that way because you get a sense of continuity. Songwriting is a skill in and of itself that you don’t want to let slip by just shredding all day. As soon a Lesions was done, it was time to start working on the new record. We recorded the new record back in April of this year.”
How have the songs from Lesions been going over live? Was it Trevor that sought you guys out for the tour? What has this particular tour been like, and are you picking up little tricks and tips from any of the other bands you’re with?
Beam: “The Lesions songs go over great. It’s weird because I didn’t even really realize it when we hit the road but this is the first time we’re playing these songs live. The crowd response has been great. People are ready to pit. People are out here to see us, and we didn’t really know what to expect. Everyone on this tour is fucking great. They’re so nice and have infinite wisdom to offer. After The Burial saved our fuckin’ lives. Our trailer was about go up in flames. Our axel caps disintegrated because they’re old as hell but we didn’t really notice and they were like ‘Yo, you gotta get that shit fixed.’ We definitely hang out with Rivers of Nihil a ton. We share a green room together and chill. They’re really great guys. Everyone is great but I love those guys.”
How do you view collaboration and bringing different musicians together in metal? It’s something that happens but do you feel it should happen more often?
Beam: “Metal music doesn’t have that many collaborations compared to other genres. When you have a jazz record you get other people to solo on it, or in the hip hop world it’s much the same. I think if a collaboration is going to make the track better, then I’m always about that kind of thing. There’s so many bands I would love to collaborate that would be fucking nuts.”
What was the moment for each of you that solidified your love of death metal and extremely heavy shit, as opposed to staying in the safe zone of heavy music?
Beam: I’m a huge World of Warcraft player, and when I was young, around 2008 or 2009, I was into Disturbed and Korn and all the nu-metal shit, and some guy in my guild said to me ‘Hey man, you should check out Slaughter of the Soul by At The Gates‘ and that record sent me down the rabbit hole.
What’s the best piece of media you’ve consumed lately that really had an impact on you and that might play a role in your inspiration for songwriting?
Beam: “I’m a gamer, and I love eighties horror flicks. I thought the new World of Warcraft expansion pack was fucking dope. They really dive into the backstory of the undead and the universe, and I’ve always thought the WAW undead were pretty cool. Cool undead shit…I’m all about that. Video games have some of the most gruesome portrayal of fucked up monsters. It’s hard to do that kind of thing in a movie. When it comes to watching stuff, my tastes don’t necessarily align with what you think. My girlfriend and I just watch New Girl together.”
Do you guys keep your ear to the ground in the death metal scene? Are there any big changes or things you’ve watched evolve over time that people who cover other subgenres might miss?
Beam: “When I was getting into metal, it was the age of Necrophagist and Spawn of Possession and I love those two bands…super shreddy, deathcore was ultra shreddy. But death metal is getting heavy. Everyone wants to fucking riff and play great riffs. Morbid Angel is coming back into fashion and I love that. It’s just getting super low and heavy again, and it’s dope.”