Interview with Jason Decay of the heavy/doom metal band Goat Horn |
Since the dawn of heavy metal, the words “true” and “false” have been bandied around with reckless abandon, self-important metal nerds always eager to segregate bands into two diametrically opposed camps. While such a dispute is not easily settled, and while many may assert that such tags have no genuine, enduring meaning (being mere affirmations of a metalhead's ego), there are few words that are more appropriate when describing Toronto 's Goat Horn. From their debut Voyage To Nowhere to their brand spanking new EP Threatening Force, this power trio has flaunted a heartrendingly genuine fusion of NWoBHM chops, melodic, epic Running Wild-esque speed thrash and faint hues of Cathedral doom, projecting these influences with a gritty conviction that SCREAMS ‘'true metal''. This band is about to blow up, be ready. |
Diabolical Conquest (Nin Chan) : Hails, Jason! Seize this unhallowed opportunity to introduce Goat Horn to a world uninitiated with your work. Jason Decay: Goat Horn is the band we would want to see as fans of music. We play heavy Metal that is both heavy and Metal continuously and simultaneously.
DC: I notice on the new record that there is a pronouncedly different vocal approach. Where the earlier records had a gritty, coarse Lee Dorrian-esque charm to them, your new approach is cleaner and more melodic. I have to be earnest here and say that I much preferred the first style, but have to inquire why you chose to polish it a bit.
DC: When I play “Storming The Gates”, it's really a bit flabbergasting that the sounds within were recorded but three years ago, as opposed to being some lost relic of the NWoBHM. You have those pronounced dark Pagan Altar type moments, the sinister progressive Witchfynde moments, galloping Maiden twin leads, everything is executed so impeccably. What prompted Goat Horn to adopt such an unfashionable style, as opposed to cranking out crappy goregrind or norsecore like the rest of Canada ? Jason: What makes us stand out is going for exactly what we want and not playing it safe by anyone else's standards. We strive to create exactly what we want to hear.
DC: I think for some odd reason ‘'true metal'' and thrash are about to undergo some kind of renaissance, which I see Three Inches Of Blood precipitating. However, I think you guys are far more sophisticated and far less farcical/tongue-in-cheek than a band like Three Inches Of Blood or some other blatantly ‘'retro'' band. While the NWoBHM certainly provides the pulse and propulsive heartbeat to Goat Horn, you are far from some copycat rehash outfit. This argument might be given some weight by the track “Right Heavy Metal”.. How afraid are you of being regarded as some kind of gimmicky ‘'retro'' band? Jason: I'm not really too afraid that will happen. We pretty much stand alone beside what is going on in music today, and besides, if we're going
DC: Clearly Goat Horn have stemmed from a rich lineage, drawing from the rich Canadian legacy of legends such as Sacrifice, Anvil, Razor, Exciter, Sacred Blade and such brilliant bands. There is such a genuine spirit that permeates the Toronto scene populated by bands like Megiddo , Burning Blade and Demontage. Would you like to speak on how growing up in Toronto informed your work? Jason: We all grew up in Pembroke , Ontario in the Ottawa Valley . I remember seeing Sacrifice and Anvil videos on the Power Hour/30. I also had an older neighbor who introduced me to Metallica and lots of other Metal as a kid. So basically when I was old enough to realize and start to play this stuff, there was no doubt that it was the most genuine music for me.
DC: One criticism that people have always lodged against heavy metal is the fact that the vocals are often nasal and the lyrics are often schlocky. Personally, I find solace in lyrics about pirates, Vikings, barbarians and buried treasure- there is a great escapist cinematic quality to heavy metal lyrics that I find very captivating, and if there is a historical basis to it of course it can be quite enriching too, haha. Surely talking about pirates is just as silly as talking about satanic rites. Clearly Goat Horn love such epic topics as well, let's discuss your lyric writing process and your perspective on heavy metal lyrics. Jason: We don't sing about pirates or satan whatsoever. Pretty much everything I write about lyrically is based on my outlook on life. Things like trial and error, success or failure, consequence, destiny, stuff like that. If you ever hear me singing about warriors fighting to defend their fortress, then its about us striving to protect something we value; that's pretty much how the Goat Horn lyrics work.
DC: To me, while Voyage To Nowhere was a great record in its own right, and one that I listen to CONSTANTLY, it felt a lot more light-hearted and frivolous, more impetuous than the last two CDs, which make VTN seem sloppy and drunken. How do you regard the first record in hindsight, and considering the VAST improvements you guys have made with each CD and each live performance, should we expect an even more technical Goat Horn on your new record?
DC: What led to your decision to sign with a label for your new record? Selling CDs independent of a label certainly has its financial benefits (ie you keep all the money yourself), but obviously a label would be ideal for getting the band's name out there via promotion and advertising. Is Goat Horn aspiring towards a higher commercial plateau? A lot of underground bands are averse to what has been popularly branded as ‘'selling out''. If Goat Horn truly does become the biggest band on the planet (which I truly do hope), how do you think you'd handle that? Jason: Basically we are working toward being able to do music full-time. I don't want to have to get up in the morning and go to work, I'd rather have someone driving me around on a tour bus, or be able to go down to the studio or pick up a guitar. Signing with a label is naturally part of the process. You get to a point where you can't really go any further on your own, and I think we've really done everything we can do on our own, so naturally labels catch on and they're really the only thing with the financial support and connections to launch you to the next level.
DC: I've noticed that with each record you have progressively downplayed the doomier inclinations that were so obvious on Voyage To Nowhere. Doom made sporadic appearances on Storming The Gates, and seems to have been phased out entirely for Threatening Force. Should we expect a straight heavy metal record on the next one? Jason: No. Threatening Force is only 3 songs from the next album and does not correctly portray the whole next album. Like I said earlier, our next album will be somewhat like Storming The Gates, except with better musicianship and higher production.
DC: I just had to tell you…you play the bass the way it SHOULD be played! The bass in Goat Horn is always loud in the mix, perfectly audible, and often assuming a lead role, adding a distinct, individual dimension to the record instead of merely adding low-end to the root notes of the rhythm guitar. It's really cool to see a musician who views the bass as an INSTRUMENT, as an individual medium for musical expression. There's a definite Steve Harris kind of thing going on here, I just wanted to let you know how much I dig that. Jason: Its something that just sort of happens being a three-piece band, I usually have to cover for the rhythm guitar.
DC: It's clear to me, watching you guys play, that Goat Horn are genuine believers in heavy metal, not just as a music form, but as a movement and a lifestyle. A lot of people regard ‘'heavy metal'' as some horrible trend that died in the ‘80s, but it's clear to me and underground aficionados that it never really left, Brocas Helm, Pagan Altar and Manilla Road are still kicking and putting out great records, you have bands like yourself, Magnesium, Sabbat/Metalucifer, Gorgon (Japan), Ogre (USA), Heathen Hoof/Morningstar of Finland, etcetera. I'd like to know how ‘'heavy metal'' as a philosophy and guiding spirit fuels your music, as well as your thoughts on the heavy metal movement that exists today. Jason: That's deep. To me it's just about cranking up the strongest music to my ears. The walls of guitars, over the top drum sounds, crunches and hooks; it just draws me in and makes me feel good. And just like my favorite bands, I want to walk around with long hair blowing in the wind, a cool shirt and do whatever I feel I ever wanted to regardless of the times.
DC: That's about it for this time, Jason. Thanks so much for your time, and for putting out fucking fantastic music that reaffirms my faith in contemporary metal. Here you can plug your impending record and tell us about anything else we need to know. Jason: You're welcome, thanks for taking time to write up these intense questions!
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© 2005-06 Diabolical Conquest |
to make a career of this then we are going to rely mainly on teenage kids, most of whom this is totally something new to. 
Jason: Our musicianship has improved, but I think our next album will be a lot more like Storming The Gates. I like the songs on Voyage, but find some of the performance hard to stomach, especially certain vocals and some guitar parts. We were not too serious about our band when we did Voyage, we really just recorded it for ourselves and didn't really rehearse the stuff much either. 
