My mama always said life is like the Necro Deathmort oeuvre—or at least she would have, had she been more interested in electro-doom weirdness than boxed confectionary. From phat-riffing industrial metal to beat-centric techno bangers, you never know what you’re going to get with these guys . The London-based duo of A. J. Cookson and Matt Rozeik formed in 2007, more by accident than design, when the three-piece psychedelic doom band they’d been playing in proved to be “going nowhere slowly”.

Not realizing their next project was going to produce anything of substance either, they christened it with a tongue-in-cheek very metal moniker and thought no more of it. Since then, Necro Deathmort have put out a sprawling array of albums, cassettes and EPs, and have made a name for themselves in the underground as highly respected, genre-straddling sonic explorers (even if that name is a pretty silly one that basically means “Death death death”).

Their latest album, The Capsule, is out June 3, and marks their first for Rocket Recordings, home to heavy and heady releases by the likes of Gnod, Goat, Teeth Of The Sea, Hey Colossus, and Shit And Shine. Another evolutionary curveball, The Capsule begins with a bubbly passage of feedback-drenched robotic Krautrock and includes a nastier segment of sinister buzzing noises and tormented howling that brings to mind grim scenes from Event Horizon, Alien or (my own personal favorite) The Cube. Even so, the record’s overriding emphasis is on calmer and more abstract dronescapes, buoyed by the pair’s conscious decision to avoid using big, obvious beats or “anything that’s easily identifiable”.

Noisey caught up with Matt to get the lowdown on The Capsule (which is now available for preorder) and rummage briefly through his MP3 collection.

Noisey: First things first, where have the riffs gone? Why so few riffs on The Capsule?
Matt Rozeik The beats are at a minimum too, at least compared to some of your previous “bangerz”. Is this the beginning of Necro Deathmort’s ambient phase? In certain places, The Capsule sounds like the soundtrack to an eerie science-fiction horror film. Alien Universal Soldier If Necro Deathmort had composed the soundtrack to High-Rise instead of that bloke from Pop Will Eat Itself, would it have made Ben Wheatley’s adaptation of the J. G. Ballard novel a little more gripping? High-Rise This is Necro Deathmort’s first album for Rocket Recordings. How did that relationship come about? Is every Necro Deathmort album a joy to write and record? Or do you get into regular heated arguments over synth tones and suchlike and then one of you will throw your coffee cup at the wall and storm out of the studio with an almighty slam of the door? especially I get the impression that you both listen to all kinds of different music. Could you press ‘shuffle’ on your MP3 player, list the first three tracks that it randomly plays, and give us a sentence or two about why you like that artist? Mental Funeral First Base Have you ever read the blog written by Phil Elverum of Mount Eerie in response to someone who’d bought an album after a show and then complained when it sounded nothing like the set they’d witnessed? Given your own stylistic shifting, do you ever receive similar complaints? Volume.1 Do you care about alienating certain fans by changing your sound from one record to the next? Have you any idea what the next Necro Deathmort album will sound like?

Catch Necro Deathmort live this summer:
2 June / Portland Arms / Cambridge (w/ Shit and Shine)
20 August / Corsica Studios / London (Rocket all dayer w/ Teeth of the Sea)
22 October / Star and Garter / Manchester (w/ Scattered Purgatory)

J.R Moores promises to spend next weekend revisiting the entire Autopsy discography instead of watching ‘Universal Soldier’ like he usually does. He’s on Twitter.