Atlanta’s DEFIGUREMENT are dropping their debut album Endbryo – a wild mix of chaos and control that hits hard from start to finish. The record’s packed with sixteen tracks that blend technical playing, intense vocals, and a ton of personality. We caught up with Matthias Joyce to talk about how the songs came together, the mix between structure and madness, and what it really means to make something this heavy and unpredictable.
Hi! Endbryo feels chaotic but also structured. Was that contrast something you planned from the start?
Kevin and Damian composed this during a period when they were just bouncing ideas off of each other, and things slowly got crazier from there as we added more elements, like Mike Heller’s drumming and the multitude of solos, noise, interludes, etc. So basically, yes and no.
Some riffs feel like they’re pushing against each other. Did that tension emerge naturally?
I think Kevin did a lot of counterpoint and experimental layering all over this album, yeah.
Sixteen tracks with very little pause – did you intend the album to feel like one continuous piece?
Yes. Originally there were no pauses or samples, but we gave it a few interludes to break up the chaos a bit.
You have a lot of guest performers. How did you decide whose parts made it onto the record?
We are fortunate to have many talented friends in some very cool bands, so we sort of just reached out to people who made sense to contribute to corresponding songs. For example, “Her Knowing Collapse” was written with Makiko’s sick high-pitched screams in mind.
The mix hits hard but still feels coherent. What did you focus on when shaping the sound?
We did several mixes of this record and kept refining it as we went. DMT did a ton of work arranging and editing everything, then Rob Caldwell came in and busted ass mixing all our crazy elements and sounds. Lasse Lammert did the mastering and did a fantastic job.
If someone unfamiliar with extreme metal listened to this album, how would you describe it?
Probably the type of album to make someone who isn’t familiar with extreme metal say, “what the fuck is this?”
Everyone in DEFIGUREMENT has a long history in other bands. Why start this project now?
If not now, then when?
Did working in other bands affect how you approached writing and recording for Endbryo?
That’s a good question. Personally, I haven’t done vocals for anything like this, so I was experimenting a lot, however DMT, Kevin and Mike are all seasoned vets so I am sure they had a lot of experience to draw from.
The record is chaotic and precise at the same time. Do you see it as an experiment, therapy, or both?
Experimental therapy, like taking a god dose of mushrooms.
Lyrically, the album deals with decay and transformation. Is that reflecting personal ideas or outside influences?
I will defer to the “god dose of mushrooms” statement again here.
There’s a subtle sense of humor buried in the songs. Was that intentional?
Yeah, I love the tongue-in-cheek lyricists like Lenzig from Cephalic, JR from Pig Destroyer, etc.
“Extreme” music doesn’t shock listeners the way it used to. What still feels risky or challenging to you?
Making something that can actually surprise the listener is always a good goal to have.
The line between human and machine feels blurred in this music. Would you ever take that further?
Things are definitely moving in a direction where people are substituting human expression with artificial intelligence… Mike is about the closest to a machine I think any of us would ever get to.
Many extreme bands talk about “progress.” What does that mean to you now?
I think if anyone lives long enough to see themselves change and progress over the years, that’s a very fortunate thing.
Five years from now, what would count as a success for this project – respect, confusion, or creating something uniquely yours? Thank you for your time!
Respectfully implementing our unique approach to confusing people. Thanks!
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