These songs will make you beg for just one moment of melody—anything to get a little oil into this gear-grinding machine.
But the grind is the theme of “Exhaust,” the new album from NYC-based technical death metal band Pyrrhon.
If you feel burned out, Pyrrhon is right there with you. Vocalist Doug Moore says, “It’s about the experience of being pushed beyond your ability to sustain things … It’s a sense of constantly juggling things and never having a handle on them. That feeling became a big part of this record and the imagery.”
“Exhaust” is us in this fucking cyclone of culture. The music channels the onslaught of content, the warping of technologies and time, and our politics of destruction.
The album itself, however, is a product of renewal.
Pyrrhon had just released its fourth album when covid hit. After 10 years of touring and crafting crazy-ass music, spending time apart became normal.
The guys began to worry about their partnership.
So they jump-started their band by gathering in May 2023 at a rural northeastern Pennsylvania cabin and taking mushrooms. Says vocalist Doug Moore: “We hadn’t spent that much time together, and it felt like we were able to rediscover who we are and feel the energy of the collaboration.”
Thematically the album may be about exhaustion, but the collaboration brought renewal.
Album opener “Not Going To Mars” bombards the wasteland of your attention span. The track is an aggressively chaotic work of rapid-fire snare drumming, dissonant guitar pull-offs, multi-personality vocals, and frequent part changes. It’s a shock to the system. So goes the album.
Once I started wrapping my brain around the sound, the drums stood out. I noticed on “First As Tragedy, Then As Farce” how the bass guitar grinds with the drums. The syncopation, the precise, rapid execution and unity of the drums and bass are really something. The music represents a lot of talent and practice.
The album’s first steady beat comes on “Strange Pains.” Two songs stick out for me, and this is one. I can just imagine how this must hit live.
My other favorite is “Stress Fractures”—a song of sheer wall-climbing madness. The riff spirals up the fretboard as the bass pulls the rug and leaves the vocals gasping. This song exemplifies that “experience of being pushed beyond your ability to sustain things … of constantly juggling things and never having a handle on them.”
Pyrrhon brings the creativity and sound of the previous four albums. “Exhaust” might even have a wider palette than 2020’s “Abscess Time.”
Songs like “Out of Gas” and “Last Gasp” slow the tempo. “Out of Gas” is a concussed brain-bleeder featuring a modulated bass effect, some silly razz-matazz drumming, and a spoken, taunting vocal. Notes ring out on “Last Gasp” and create a scary space that fills with exaggerated spoken vocals that ramble on until overcome by caterwauling guitars.
“Exhaust” suits the moment and a state of mind. Moore says, “We've been through a time of great uncertainty. I tend to get into my head about this stuff.”