Last updated: 7 hours ago
“We take ourselves very seriously as far as the music and lyrics go, but we don’t take ourselves too seriously as humans who are in a band.”
That’s bassist/vocalist Kayhan Vaziri talking about his band, Yautja. Taking their name from the alien species in the Predator franchise, he and his bandmates—guitarist Shibby Poole and drummer Tyler Coburn (also of Thou and Mutilation Rites)—combine grind, punk and hardcore into a ferocious hybrid that has propelled them from the obscurity of the American South onto the international stage.
“I live in Birmingham, Alabama, and the other two guys are in Nashville, Tennessee, both of are which are pretty close to the bottom of the list when it comes to cities that you associate with metal or heavy music in general,” Vaziri observes. “Nashville is huge for country and pop—commercial music, basically—but not what we do.”
What they do can be heard on the trio’s long-awaited second album, The Lurch. From the relentless opening roar of “A Killing Joke” and the ominous noise waves of “Undesirables” to the churning cannonade of “Before the Foal,” the record conveys the personal frustrations and sociopolitical observations of its creators.
That’s bassist/vocalist Kayhan Vaziri talking about his band, Yautja. Taking their name from the alien species in the Predator franchise, he and his bandmates—guitarist Shibby Poole and drummer Tyler Coburn (also of Thou and Mutilation Rites)—combine grind, punk and hardcore into a ferocious hybrid that has propelled them from the obscurity of the American South onto the international stage.
“I live in Birmingham, Alabama, and the other two guys are in Nashville, Tennessee, both of are which are pretty close to the bottom of the list when it comes to cities that you associate with metal or heavy music in general,” Vaziri observes. “Nashville is huge for country and pop—commercial music, basically—but not what we do.”
What they do can be heard on the trio’s long-awaited second album, The Lurch. From the relentless opening roar of “A Killing Joke” and the ominous noise waves of “Undesirables” to the churning cannonade of “Before the Foal,” the record conveys the personal frustrations and sociopolitical observations of its creators.
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