Implicit Obedience – 2012 – Willowtip
Orphic Signs – 2014 - Willowtip
Anathema – 2019 – Willowtip


S= Shogo Tokita>>Hemorrhoid Carnage - Yujiro Suzuki
G= Shogo Tokito>>Hemorrhoid Carnage - Keisuke Takagi - Yujiro Suzuki - Deadly Spawn>>Yuya Takeda>>Deadly Spawn
B= Toshihiro Inagaki>>Defiled - Bassaium, Wargasmatron>>DAISUKE ICHIBOSHI


This Tokyo-based death metal band was founded in 2007. The group began playing shows in the summer of 2008. The act toured the Philippines in 2009. The group also played with Exodus and Dying Fetus in China at the Painkiller Metal Festival. The group recorded its debut in 2010 and had it mixed and mastered by Erik Rutan before signing with Willowtip. The debut album was out in 2012. The band toured with Aborted in 2013. The group collaborated on the soundtrack for the PS4 game Let it Die and hit Mongolia. Desecravity’s Anathema was out through Willowtip Records on 25th of January 2019. The record was mixed and mastered at Unisound Studio by Dan Swanö. Hitoshi Kojima became the second guitarist in 2019.



The hierarchy at Metallian Towers has been admirers of Japan’s death/grind masters Desecravity for some time, but it is only now that we have gotten around to bringing you an interview with the act. Better late than never, right? Ali “The Metallian” sat down with founder and precision drum machine Kudo Yuichi for a long conversation. – 22.02.2021

METALLIAN: Thank-you for your time, coming in for this interview and also for the band's music. First question: the band’s music could be described as equal parts brutality and technical ability. How do you see this? Was the style a conscious decision on your part at the beginning?
YUICHI KUDO: Hello, thanks to you! We do not have such a deliberate or conscious plan at all. We do not think in advance "this is our style" or "I want to play this kind of a song." We are here now and, as such, this is the result of our expressing what we want to express. We play not because we want to do blast beats or want to show off sweep picking of course. We do not say to ourselves “Tempo 200?” or “300??” To do that would be like at the Olympic Games and, of course, that is not the case with us. Technique is just a facet of expression and method for us. Our music might naturally change if we want to express a different thing. We are basically a genre-less band which means unconventional and without prejudice.
I think that will be easy to see in the future.

METALLIAN: Actually, Olympics would have been a good metaphor for your music except Desecravity is not a commercial racket of course. With that said, Desecravity’s music could be described as some of the most insane and capable ever. Is this something you are aware or being in the band do you see your compositions as just another piece of music?
YUICHI KUDO: From the composer's perspective, I think that each song has big differences in its features and individuality. Each song has its own story when I write it. That story is the basis of the expression. For example, movies are represented by images, novels are expressed in letters, a painter is expressing by painting, it feels like we are expressing with sound; in the same way as the aforementioned artists.
We are different from others because I think that I do not make a song which was solely constructed with cool riffs or phrases.

METALLIAN: On another note and regarding the band’s monicker, what is the word’s meaning and why did you pick it?
YUICHI KUDO: It is comprised of a name we coined that combines a plurality of words. It does not have a deep meaning, but it would be great if it could have a meaning afterwards as a result of our activities.
I chose a name that I feel is related to mythology, religion or history. The reason for using an invented word is that from a marketing perspective, which is important, the name is found easily and nobody has used the same monicker. I thought that the word sounds and looks are also good.

METALLIAN: Focusing on the drumming, it is clear that there is a concealed Japanese technology implanted in your body. Could you reveal this impressive tech that enables you to drum like that?
YUICHI KUDO: This band succeeds because the writer and drummer is the same person. Most of the time, I have an approximately good idea of the drum patterns during the composition stage of the song.
That is why the tracks and the drumming in them have a good harmony. I think that it is this harmony that makes my drumming technical. I use many odd metres in the tracks, which listeners do not notice. I started drumming and have been self-taught since I was around fifteen-years-old. I then flew to the U.S.A. when I was eighteen and studied earnestly at the Berklee College Of Music and M.I.; however, my skill has improved a lot being in this band.

METALLIAN: While on the subject of technology, do you see a day when you would mix or master your music in Japan? Or are you against mixing and mastering in Japan?
YUICHI KUDO: I am not picky about who works in which country. Having said that, when I search there is a better variety and choices of good engineers to record tracks in foreign countries than there are in Japan. It is better if the engineers know more about this kind of music. U.S. and Europe are simply more advanced in metal because they have the technique and experience for it. However, we do want to do it all in our own country someday.

METALLIAN: Speaking of one day, there is a little boy or girl out there who wants to be a musician like Kudo Yuichi. What does it take? What should he or she do to achieve the dream?
YUICHI KUDO: For any action, it is not what you want or do not want. Do or do not. It is just noise if someone gets in your way. I think that all you need to do is move forward to wherever you want to go. That is what I did and still do. Your actions build results. You may encounter a problem one day, but should you change your approach the negativity may become positivity depending on your perception. I, for example, do not have time to do what I do not want to do because life gives you a limited span.

METALLIAN: Speaking of not doing what you do not want to do and by the way, when was the last time you cut your hair? A barber in Tokyo asked me to ask you this because he wants you to look mainstream!
YUICHI KUDO: I have not been to a barber shop since I was a teenager. I have been cutting my own hair for years anyway. I hate barbers anyway because they cut too much.

METALLIAN: Could you tell us about any other bands you have been in, or are in currently, regardless of whether they are metal or not even if they were early garage bands?
YUICHI KUDO: I am honoured to receive offers to join bands sometimes, but unfortunately decline it most of the time because I am busy with Desecravity. I would love to play in other bands if I have ample time in the future. I am open to any genre, but of course no thanks to boring ones!
In the past, when I was around thirteen-years old, I used to play the guitar before I drummed. Why? I could not make room for drums and make it work at home so I started with the guitar because I had no choice. It was just jamming with school friends. It eventually became a useful skill for writing music though. There are no wasted experiences. I had jam session with school friends every day after I started drumming as well. It was nothing major.

METALLIAN: We know that you were in a band called Abuse in Canada. How did this happen and how did you end up in Canada? What were you doing in Canada?
YUICHI KUDO: I lived in L.A. at that time and, I believe, met them at the Maryland Deathfest in 2003. I was in the audience. That was when I met them. They were looking for a drummer and they told me to join their band, but I did not think they mean it seriously. We stayed in touch and I moved to Vancouver to join them. That was a really good opportunity because I had met a great group and gained experience. My life may have been completely different if I had not met them.
I only drummed day in and day out. I am not a genius who can pick things up easily. I need a lot of practicing. When I think about it, I should have done something other than just music while in Canada.

METALLIAN: Did you record anything with Abuse? Why did you return to Japan?
YUICHI KUDO: There was neither an album nor any tracks recorded.
There are couple of reasons I returned to Japan. First of all, my visa was going to expire so I had to think about whether to renew it or not. I had three choices: staying in Canada, going back to Japan or returning to the U.S.A. I picked Japan because of a craving for a new environment to challenge myself. Also, there are not many bands in Japan that are well-known internationally. I also love Japan.

METALLIAN: That makes sense, Yuichi. There have been multiple line-up changes over the years. Why is keeping a stable line-up difficult? Is it the music, personality clashes or other?
YUICHI KUDO: It's quite different now but in the early days I felt that there were very few people in Japan who are active and at the international niveau - not just in the music field either. As a result, those people and I had a big gap in thinking and in initiative.
It was not a problem because I expected people would drop out of the band. I did not want a member who has the average Japanese thinking and technique. I don't remember any particular trouble or fighting within the band. Many of the former members were shy and quiet anyway.

METALLIAN: While we are on the topic Suzuki Yujiro left some two years ago. What happened there and was that not a big loss to the band?
YUICHI KUDO: It was not a big problem. I do not remember exactly, but he left and came back three or four times. We knew that he would leave again soon given his mentality. That is why we knew he might leave at any moment and we were fine with it. I do not know the specific reason for his departure every time. He was difficult. It was like dealing with girls (laughs).

METALLIAN: Let’s talk about a couple of songs. Ominous Harbinger is a favourite at Metallian. Could you say a few words about this track?
YUICHI KUDO: This track was the last written one we wrote for the Anathema album. I think it represents Desecravity very well. From the creator's point of view, the first and the last songs we wrote for the album give Anathema the most colour.
I could already see how the album is shaping up from the first seven tracks, but that one piece was missing. That is where ominous Harbinger came in. This track was much longer at first, but I made it more compact. I did not want to lose the listener. I think that worked out nicely. The tracks I wrote for the album were less repetitious and showed an evolution.
It is a little difficult to explain about this track. It may seem like a mythological tale of gods and people, but the lyrics are talking about the present day. Many of our songs are like that. Read whatever you like in the lyrics and the sound. It would be interesting to comment in more detail about the tracks someday.

METALLIAN: Let’s stay with specific songs, Yuichi. Bloodthirsty Brutes and Deprivation Of Reality have interludes that are reminiscent of Death. The band takes its foot off the gas pedal for moments on these tracks as well. It is almost insane to say this because the rest of the material is so fast, but relatively speaking these tracks have slower moments. Could these point to the band’s future?
YUICHI KUDO: I like fast songs, but it is not interesting if they are only fast. I like to express myself with a wide variety of elements, slow and fast, bright and dark. A fast part may grab your attention, but when I slow down the other parts stand out. I will use my song writing to insert a melody or a complicated rhythm. It is just the style of these songs and has no connection to our future.

METALLIAN: We touched upon this earlier, but the band’s lyrics talk about God or gods quite a bit. Are you a believer in God and the devil?
YUICHI KUDO: It is not a question of belief; it is just that I enjoy these topics. They are the symbols of things or shapes of human thoughts and feelings and so on. I am not a believer or a worshiper. I just like it from a historical, religious and artistic perspective. That is why I often go to museums and art galleries. I also go to archaeological sites in many countries.

METALLIAN: Mention of travel may be a good time to bring this up. Metal is a global community, of course, and the style of music has a long tradition in Japan, but many Japanese bands seem to be either content or resigned to staying confined to the Japanese market. How do you see this situation?
YUICHI KUDO: I think there is no specific way of doing things. It is the best to do whatever you want.
You don't have to worry about others or your surroundings at all. Just follow your heart. The question is whether the band is a business, a hobby or more on the artistic side. Each band has a different way of thinking and set of activities.

METALLIAN: Speaking of territories and cultures, is heavy metal a form of cultural imperialism to Japan i.e. it is a Western export that does not speak to the culture and heritage of Japan?
YUICHI KUDO: I am not familiar with the roots or history of imperialism, but basically the Japanese metal scene has been the recipient of many influences from Europe and U.S.A. Having said that, Japan is an island so it is easy to create your own scene away from U.S. and Europe.

METALLIAN: What is next or new with the band? Is the band still with Willowtip?
YUICHI KUDO: Luckily, we are still with Willowtip Records. I have been working on writing the next album, but will take more time because I am a slow writer. We have many plans for the future, but it is not yet the right time to elaborate. We would probably announce them after next album is released. These have been my plans all along and I have been thinking about them since I started Desecravity so it is going to be big news.

METALLIAN: Why is Metallian the very best music website in the galaxy?
YUICHI KUDO: Why? You know very well about yourself and why! Thank you.

For more information visit the band’s web presence at Thanks to for the translation service.

デスグラインドの達人Desecravity。古参ファンの我らは遂にインタビューに成功しました。メタリアン編集長アリと高精密ドラムマシンの工藤雄一との対談をお楽しみください。- 2021.02.22

METALLIAN: 素晴らしい音楽と合わせ、この度のインタビューにお時間を頂きありがとうございます。それでは最初の質問です。荒々しさと同時に高度な演奏技術を魅せているDesecravityさんの音楽スタイルですが、これはバンド開始当初から意識されたものだったのでしょうか?
工藤雄一: Hello, こちらこそありがとう。 全くそういう意識や計画なんて立てていないよ。僕達は"こういう音楽スタイルだ"、"こういう曲がやりたい"とか事前に考えてない。僕達が表現したいことを音で表現した結果が今の様になっているだけ。ブラストやりたいからやるとか、スイープ見せたいからやるとかそう言う事も勿論無い。テンポ200が〜とか、300が〜とかオリンピック競技みたいな事もしない。テクニックというのは僕らにとって表現方法の引き出しに過ぎない。だから表現したいものが変われば自然に音楽も変わるだろうね。固定観念を持っていないし、基本的には型にはまらないジャンルレスなバンドなんです。今後もっとそういうのがわかりやすくなってくると思う。

METALLIAN: Desecravityさんの音楽は、他に類を見ない程の凄まじい狂気、かつ多才さを感じます。この私個人の感想を作曲側からはどう思われますか?
工藤雄一: 作曲側からすると、どの曲もそれぞれ大きな特徴、個性を持っていると思う。僕が曲を書く時というのはそれぞれの曲にストーリーを持たせてある。表現の元になっているのはそのストーリーなんだけど、例えば映画は映像で表現、小説は文字で表現、絵描きは絵で表現してるように僕らは音で表現しているという感じ。

METALLIAN: バンド名の意味とそれを選んだ理由をお聞かせください。
工藤雄一: 複数の単語を合わせた造語で構成されてます。深い意味は持たせてませんが、活動していく中で意味が後付で形成されれば良いと言う感じです。基本的なテーマは神話だったり宗教的な、歴史的なものを感じさせる様なものの中から言葉を選びました。 造語にしたのは、戦略的にネット検索した時に被りにくく、見つけやすいことは重要だと思うので造語にしました。あとは語感と文字列の見た目が良いと言うところで決めました。

METALLIAN: ドラマーについてですが、その体内には日本の高い技術を埋め込み、隠されている事は明白です。その見事なドラミング技術をさらけ出して頂けませんか?
工藤雄一: 多分だけど、このバンドは作曲者とドラマーが同一人物であることが、とてもいい効果が生まれていると思う。曲を作っている時、同時にドラムパターンもある程度イメージしていることが多い。つまり曲とドラムがとてもいい調和が起きている、そんな具合がテクニカルに聞こえたりしてるんじゃないかな。 リスナーには気づかれないの様なところでも変拍子(Odd Meter)はかなり多く使ってたりするからね。
個人的には15歳くらいからドラムを始めて、独学でやっていた。その後18歳の時にアメリカに飛んでBerklee College of Music や M.I.で本格的に音楽を学んだけど、このバンドで過ごしてきたことが一番成長したとおもう。

METALLIAN: 技術といえば、日本国外でレコーディング後の編集やミックスダウン、マスター等の作業をされておられますが、全てを日本で行う日は来るのでしょうか?それともそれらを日本で作業されることに抵抗はありますか?
工藤雄一: どこの国で何の作業を行うとかこだわりはないよ。ただ良い作品にする為に必要なエンジニアを探すと、日本より国外のほうが選択肢が多い、何しろこの手の音楽を良く知ってる必要があるでしょ。そうするとメタル先進国のアメリカやヨーロッパのほうが技術や経験という意味で色々と話がうまく行くんです。 いつかは自分たちの手でやってみたいけどね

METALLIAN: 将来Kudoさんの様な音楽家になりたい、と願う少年少女達。どうすればその夢を叶えられますか?
工藤雄一: 何をするのも、やりたいかやりたくないかではなくて、やるかやらないかだと思う。周囲が何を言おうとそんなのはただのノイズ、自分が向かいたい場所にどんどん向かって行動すればいいだけだと思うよ。僕はそうしてきたし、今も変わらない。結果は行動した分だけ積み上がってる。そのうち上手くいかない時もあるだろうけど、それをどう捉えるか、視点を変えるだけですべてポジティブな要素に変えることができる。人生という時間は有限だからね、やりたくないことやってる暇なんてないよ。

METALLIAN: ところで、最後に散髪されたのはいつですか?東京のとある理髪店が、流行りの髪型にして見てみたいと言っていたので!
工藤雄一: 10代の頃に行ったきり全然行ってない。もう何十年も毎回自分で切ってるよ。理髪店の奴ら切り過ぎるから嫌なんだよ

METALLIAN: 最近または過去の他のバンド活動についてお聞かせください。音楽のジャンルに問わず、また人知れずひっそり活動された様なものも含めて是非。
工藤雄一: 光栄な事にオファーは時々頂くけど、DESECRAVITYがとても忙しいのでお断りする事が多い。この先もし稼働的にゆとりが出来ることがあれば他のバンドもやってみたいね。ジャンルにこだわりはないけど退屈なのはごめんだね。

METALLIAN: カナダのAbuseというバンドに参加されましたね。どのような経緯で?とその結果はいかがでしたか?またカナダでは何をして過ごされましたか?
工藤雄一: 僕は当時Los Angelesに住んでいて、たしか2003年のMaryland Deathfestで僕がお客として見に行った時に彼らに出会った。そこでドラマーを探しているからうちに来ないか?と誘われんだけど、その時は正直冗談だと思ってた。その後頻繁に連絡を取るようになり僕が彼らの居るVancouverに引っ越して加入したという流れ。とてもいい仲間と出会えたし、多くの経験を積むことが出来た、彼らに出会わなければまた全然違った人生になってたと思います。

METALLIAN: Abuseとのレコーディングはされましたか?どうして日本へ帰国してしまったのですか?
工藤雄一: いえ、アルバムはレコーディングしていませんので、僕が参加してる作品はありません。 日本に帰国した理由は色々あります、まず考えるきっかけになったのがビザの有効期限が迫っていたので更新するか否や考えました。当時頭の中では、このままカナダにいるのか、日本に帰国するのか、アメリカに戻るのかの三択でした。新しい環境を求めた事と、また母国日本では国際的に活動してるバンドは少なかったので、自分の力を試す意味も込めてやってやろうという気持ちで日本帰国を選びました。あとは日本が好きだからですね。

METALLIAN: 数年にわたり複数回メンバー変更を行っていらっしゃいますが、何故当時のメンバーで活動し続ける事が困難だったのでしょうか?音楽性の違いや性格の衝突、はたまた他の理由があったのでしょうか?
工藤雄一: 今は大分違いますが、当時はまだ日本は音楽に限らず国際的に活動してる人間って、他国に比べて少ないと感じてました。思考も行動力も僕とはだいぶギャップがあったと思います。僕が求める演奏レベルも考え方も日本の基準では考えてませんでしたし、バンドが前進して行く過程である程度の脱落者は出てくる事は想定内でしたので、僕的には何も問題ありませんでした。特別なにか衝突したような記憶は無いですね。皆シャイで大人しい人が多かったです。

METALLIAN: 同様の話題で、Yujiroさんが2年前バンドから去りましたが、その理由や当時バンドへの影響の大きさをお聞きしても?
工藤雄一: 影響は全くないです。正確な回数は覚えてないけど彼はかれこれ3、4回くらい出入りしてるんです。メンタルが不安定な人間でしたので、僕たちは彼がまたすぐ辞めるとわかってました。なので僕らは彼がいつ居なくなっても大丈夫でした。理由はいつもよくわからないです。ただ女の子扱うみたいに難しいんですよ(笑)

METALLIAN: いくつかの楽曲についてお尋ねしたいのですが、私のお気に入りはOminous Harbingerでして、この楽曲についてお聞かせください。
工藤雄一: この曲はアルバム Anathemaの中で一番最後に書き上げた曲なんです。DESECRAVITYらしさがよく出ている曲だと思います。作り手視点の話になるけど、最初に書き上げる曲と最後に書き上げる曲がアルバムのカラーが決まる影響が大きいと感じている。他の7曲が先に完成されていたので概ねアルバムのカラーはみえていたけど、完成と呼ぶにはまだ1ピース足りなかった。そんな時この曲が生まれたんです。 本当はこの曲はもっと長い曲だったんだけど、聞いているうちにだらけてしまうのも嫌だったのでコンパクトにまとめた。うまい具合に収まったと思う。僕が書く曲は繰り返しが少なくて、展開が多いからね。

METALLIAN: 楽曲Bloodthirsty Brutes と Deprivation Of Reality、これらには他バンドDeathを彷彿とさせる部分があります。またこの2曲とほかの楽曲と比べると、まるでアクセルペダルから足を離してしまった様なテンポですね。失礼な質問になりますが、これは今後の楽曲の方向性を示しているのでしょうか?
工藤雄一: 僕は速い曲が好きだけど、曲の表現としてずっと走りっぱなしな曲は面白くないんだ。緩急ついた、明暗のある、色々な要素を使って表現していく。速い部分ってのは速さがめだってしまうけど、遅くすると他の部分が浮き彫りになりやすい、そこを利用してメロディを入れるとか、複雑なリズムを入れていくとかしていくんだ。表現の一環で取り入れているだけであって、今後の方向性には関係ないかな。

METALLIAN: 歌詞には唯一神や八百万の神が出てきますが、神や悪魔を信じますか?
工藤雄一: 信じるかどうかってよりも、好きか嫌いかの話なら好きだと言える。それらは物事の象徴だったり、人の考えや思いが形になったものや様々ですよね。僕は信者とか崇拝者とかそういうのではなく、歴史的、宗教的、芸術的に好きなだけ。だからよく博物館や美術館にいくし、各国の遺跡まで直接見に行くほどです。

METALLIAN: ヘビーメタルが世界的コミュニティである事は当然ですが、長く因習がある日本のヘビーメタル。日本国内の活動だけで満足するバンドもあれば、日本の音楽業界へ囚われ国内活動以外の選択肢を諦めているバンドも多くあります。この状況をどう思われますか?
工藤雄一: こうしなければならないとかそういうものはないと思う、皆それぞれやりたい様にやるのが1番いい。他人や周りを一切気にする必要はなく、自分の心に従えればそれでいいとおもうよ。 ビジネス的なバンドなのか、趣味でやってるのか、芸術的にやっているのか、それぞれ考え方や活動の仕方は違うよね。

METALLIAN: 領土や文化と言えば、日本人にとってヘビーメタルというものは、 文化帝国主義によって西洋から植えつけられ発達したものですか?つまりは、日本の文化や遺産を語らない西洋からの輸入品ですか?
工藤雄一: あまりルーツや歴史に詳しくないけど、やはり基本的にはヨーロッパやアメリカのメタルシーンからの影響は多くあると思います。日本は島国でアメリカやヨーロッパからも遠く、独自の文化も育って行きやすい国です。

METALLIAN: バンドの今後もしくは新しい取り組みは何かありますか?レコード会社Willowtipと引き続きお仕事が?
工藤雄一: 幸運にも引き続きWillowtip Recordsと仕事します。次のアルバムの曲を書いているところですが、僕は曲を書くのが遅いのでまだまだ時間がかかりそうです。 今後については色々計画がありますが、まだ発表する時期ではないのでこれもコメント控えます。時期が来たら発表しますが、多分次のアルバムがリリースされた後になるとおもいます。DESECRAVITY始めた時期くらいに考えてた長期計画なので僕らにとっては大きいニュースとなります。

METALLIAN: 私たちMetallianがなぜ銀河系最強最高のウェブサイトなのでしょうか?
工藤雄一: なぜって、それはあなた自身がよく知ってることでしょう! Thank you


If you enjoyed this, read Poison