末日降临 - 美国Progressive Death Metal乐队Sallow Moth专访

Volcano Magazine
29 minutes ago
12 min read

Sallow Moth是近年来北美地下极端金属中风格进化最迅猛、概念最完整的单人计划之一。作品以技术死亡金属为基底，大量融合氛围电子与实验编曲，并以独特的星际生物科幻主题，跳出了传统死亡金属的叙事框架。伴随阵容与曲风的多次蜕变，其世界观也在持续延伸扩容。今天火山杂志采访到了Garry B，对Sallow Moth进行访谈！

（V: 代表笔者 G: 代表Garry B）

Sallow Moth stands as one of the most rapidly evolving and conceptually cohesive solo projects in North America’s underground extreme metal circuit in recent years. Rooted in technical death metal, its music integrates abundant atmospheric electronics and experimental arrangements. With its distinctive scifi narratives centered on interstellar creatures, it breaks free from the conventional lyrical tropes of death metal. As its lineup and sound have undergone multiple transformations, its selfcontained fictional universe has continued to expand and deepen.Today, Volcano Magazine sits down with Garry B for an interview centered on Sallow Moth！

(V: Represents the author; G: Represents Garry B)

采访对象：Garry B（Sallow Moth乐队创作 / 主唱）

采访时间：2026.08.02

V: 2016年创立项目时，为什么选择Sallow Moth作为这支死亡金属计划的名称？从2018年首张EP到2026最新全长，音乐风格多次变化，计划名称的核心含义是否随创作的不同阶段产生延伸？

When you founded this solo project in 2016, why did you name your death metal project Sallow Moth? Your musical style has changed multiple times from your debut EP in 2018 to your brandnew 2026 fulllength. Has the core meaning of the project’s name been extended as you created works in different stages?

G: 那时，我就知道自己想围绕一种生物构建一系列世界和生物，而我被飞蛾所吸引。当时，我只是在观察各种飞蛾，黄蛾引起了我的注意。我觉得这个名字听起来既神秘又略带忧郁。尽管音乐本身并非以忧郁或神秘为主题，但这种情绪确实隐含在歌词的某些基调之中。起初这种特质并不明显，但近两年来愈发凸显。因此，我认为随着时间的推移，这个项目逐渐诠释出了其名称所蕴含的深意。

Back then, I knew I wanted to build a series of worlds and creatures revolving around one type of creature and I was drawn to moths. At the time, I was just looking at different kinds of moths and sallow moths caught my eye. I thought it sounded mysterious and somewhat melancholic. Even though the music is not centered around melancholy or mystery, it’s embedded there in some of the tone of the lyrics. This wasn’t really prevalent in the beginning, but more in the last 2 years. So I think the project grew into the meaning of the name as time went on.

V: 这类科幻主题在死亡金属中比较少见，可以讲讲选择这些主题的原因，和想给听众传递什么样的信息吗？

Scifi themes are relatively uncommon in death metal. Could you elaborate on why you chosethese themes, and what messages you want to deliver to your audience?

G: 科幻是我非常感兴趣的领域，奇幻也是。我选择这些主题，是因为它们在故事创作中能让想象力无限驰骋。我在歌词中主要传达的信息是：对自然的敬畏、自我反思、同情心，以及对科技及其陷阱保持警惕。此外，我还希望通过科幻题材以及天马行空的奇幻生物和世界，来表达内心的动荡与和谐。

Sci-fi is a big interest of mine. Fantasy as well. I chose these themes since they are limitless in exercising creativity with storytelling. My main message within the lyrics is reverence for nature, self reflection, compassion, and being mindful of technology and its trappings. Also, the willingness to express both tumultuousness and harmony through a vehicle of science fiction and wild imaginative creatures and worlds.

V: 你同时运营Sallow Moth、Cara Neir、Gonemage、Homeskin等风格跨度极大的乐队/单人计划，单年就能产出多张全长与EP，你日常是如何平衡不同风格作品的创作呢？你很少出现创作倦怠的情况，维持稳定创作能力、平衡多个不同风格作品创作的心态调节方法是什么？

You run multiple stylistically diverse solo projects such as Sallow Moth, Cara Neir, Gonemageand Homeskin, releasing numerous fulllength albums and EPs each year. How do you balance writing music for these vastly different styles in your daily life? You rarely experience creative burnout. What mental adjustment strategies do you rely on to maintain consistent creative productivity across all your projects?

G: 我从不同的视角——过去与现在——来审视每一部作品。每当为不同的项目写作时，我必须让自己融入那个特定的世界，并尽量屏蔽其他一切干扰。有时也会有意让作品之间产生交集，但为某些项目设定限制，有助于我保持专注，避免创作倦怠。

I view each one from a different perspective, past and present. Whenever I write for a different project I must put myself into that specific world and try to block out everything else. Sometimes there can be intentional overlap, but keeping limitations for some projects helps me stay focused without any creative burnout.

V: 你所涉猎的风格非常广泛，你喜欢哪些乐队的作品？Sallow Moth的作品受到了哪些乐队的影响？在构建歌曲主题时，有没有受到相关科幻电影或者小说影响？

You cover an extremely broad range of music styles. What bands do you personally love, andwhich bands have influenced Sallow Moth’s sound? Have any scifi novels or films inspired your lyrical and conceptual worldbuilding?

G: 我最喜欢的乐队包括Ulver、Akercocke、Mortal Decay、City of Caterpillar、Deeds of Flesh、Bark Psychosis、Atheist和Cynic。随着这个项目的不断发展，对Sallow Moth影响最大的乐队也发生了变化。早期主要是Dismember和Edge of Sanity。随后，我的音乐风格更多地受到Atheist、Cynic、Darkthrone的《Soulside Journey》时期作品以及Akercocke的影响，后来又逐渐转向了上述乐队——Deeds of Flesh、Mortal Decay、Wormed和Biolich——所代表的更残暴的风格。

Some of my most loved bands include Ulver, Akercocke, Mortal Decay, City of Caterpillar, Deeds of Flesh, Bark Psychosis, Atheist, Cynic. The biggest influences on Sallow Moth have changed as I’ve evolved the project. Early on it was Dismember and Edge of Sanity. Then more of my influence from Atheist, Cynic, Darkthrone’s Soulside Journey era, Akercocke, to a more brutal influence by the aforementioned Deeds of Flesh, Mortal Decay, Wormed, and Biolich.

V: "Deathspore"是整个长线故事的序章，录制这张EP时，完整世界观已经全部构思完毕，还是只敲定了基础三方冲突框架？

Deathspore serves as the prologue to your overarching narrative. When you recorded this EP, had you fully finalized your complete fictional universe, or only outlined the core conflict between the three major factions?

G: 当时，这仅仅是本篇章三大阵营的其中一个轮廓。除此之外，我并未完全领会这个虚构世界的全貌。即使到现在，我仍觉得它在不断扩展。或许正因为它永无定局、始终向新的可能性敞开大门，所以才显得无边无际。这让我在创作每张专辑的歌词和主题时，都能保持一种灵活应变的心态——即使针对某张专辑已有大纲。

At the time it was only one outline of the three major factions of this arc. I did not fully realize this fictional universe beyond that. Even now, I perceive it as ever growing. Perhaps limitless in it never being final and always open to new possibilities. This allows me to write with an adaptive mindset with every album lyrically and thematically, even if there’s an outline for any given album.

V: 和"Deathspore"的录音相比，"The Larval Hope"混音层次更丰富，幼虫终将完成蜕变，这个贯穿专辑的成长意象，和你音乐上新增氛围旋律、拓宽编曲层次的尝试是否有呼应关系？

The mixing of The Larval Hope features far more layers compared to the raw production of Deathspore. The album revolves around the motif of larvae metamorphosing into mature creatures. Does this core theme of growth mirror your musical experiments, such as adding atmospheric clean guitar lines and expanding the complexity of your song arrangements?

G: 是的，完全正确。这是个非常精辟的观察。随着时间的推移，项目中可能会出现更多元素、不同的风格或技巧。我认为到了某个阶段，这会像一个轮回，也许五年后我们会重新回到某种特定的声音或影响源。这与Voivod或Paradise Lost的情况颇为相似——他们既会探索新的方向，也会重温早期音乐风格，但同时又会融入新的元素。

Yes, absolutely. It’s a great observation. More elements, different tones, or techniques may appear in the project as time passes. I think at some point it becomes like a wheel where we may travel back to a certain sound or influence 5 years from now. Something not unlike Voivod or Paradise Lost where they can venture elsewhere or maybe they revisit an earlier era of their sound, but with something new added.

V: "Stasis Cocoon"里的电子氛围段落占比明显高于前一张全长，是什么想法让你加重这类音色的使用频率？这张相比于之前的作品更加有氛围感，少了残暴的感觉，当时这张专辑的创作过程是怎么样的？这张是首次和画师Jacob Devlin合作封面油画，初次对接时你给出了哪些视觉参考方向？

Atmospheric electronic sections appear far more frequently on Stasis Cocoon than your previous fulllength. What inspired you to increase the use of these electronic textures? This record is much more ambient and less aggressive than your earlier releases — what was the songwriting process like for this album? This also marks your first collaboration with painter JacobDevlin for cover artwork. What visual references and creative directions did you provide him at the start of your partnership?

G: "Stasis Cocoon"是连接早期更直白的作品与后续作品之间的一段有趣过渡。我的创作思路是更多地汲取前卫音乐的影响，并将这些元素融入歌曲创作过程中。其中一些电子音乐元素源于我对90年代IDM乐队的欣赏，比如Squarepusher、Plaid和Autechre，同时也受到70至80年代以合成器为主的音乐的影响，例如约翰·卡彭特的作品、Yellow Magic Orchestra，甚至让-米歇尔·雅尔。我的直觉是重新审视电子元素在死亡金属中的应用，这就像是对Nocturnus乐队"The Key"的致敬。啊，专辑"Stasis Cocoon"的封面画家是亚当·伯克。虽然制作过程漫长，但这张封面确实值得等待。我向他展示了我自己绘制的封面构思草图，并请他根据自己的风格和专业特长进行重新构思。

Stasis Cocoon was an interesting segue from the earlier more straightforward material and what was to come. My approach was to reach for more of my progressive influences and blend this into the songwriting process. Some of these electronic elements spring from my appreciation for 90s IDM acts like Squarepusher, Plaid, and Autechre, as well as 70s-80s synth-focused music like John Carpenter’s works, Yellow Magic Orchestra, or even Jean-Michel Jarre. My instinct was revisit the thought of electronics within death metal, much like a nod to Nocturnus ‘The Key’. Ah, the painter on Stasis Cocoon was Adam Burke. It was a long process but worth the wait for the cover. I presented him my own sketch of the cover idea and told him to reimagine it within his own style and expertise.

V: "Mossbane Lantern"这张专辑电子氛围段落数量达到系列峰值，大量穿插碎片化电子音效，为什么在这张最大化复古电子音色的占比？充满科技感的听感是如何营造的？

Fragmented retro electronic and chiptune sounds reach their highest prevalence across your discography on Mossbane Lantern. Why did you push these vintage electronic elements to the forefront on this record, and how did you craft the album’s distinct futuristic sonic atmosphere?

G: 这种做法无疑是在"Stasis Cocoon"的电子元素以及我之前提到的创作动机基础上进一步发展的，但这次将这些元素提升到了新的高度。我只是想在专辑中更多地展现这个项目持续演变的各个方面。更多的电子元素。更多的实验性尝试。以及更多的风格转变——至少在这张专辑中是如此。这是时隔几年后的回归专辑，我积累了太多创意，希望能将它们全部融入这张专辑中。我意识到这对某些人来说可能有些难以消化，但或许随着时间的推移会更受欣赏。专辑中许多声音氛围的形成，源于我在创作过程中有意识地暂时抽离。我会将它搁置几周，有时甚至一个月，然后带着全新的视角重新审视。我认为正是这种迭代过程造就了专辑最终的音色——仿佛多种声音汇聚在一起，共同踏上一段旅程。

This approach definitely builds on the electronic flourishes of Stasis Cocoon and my aforementioned motivations, but this time elevating it more. I just wanted to bring more of every facet of the project’s continued evolution. More electronics. More experimentation. And more style shifting, at least on this record. It was a comeback full length after a few years and I had built up so many ideas that I wanted it all on one album. I realize that this can be overwhelming to some, but perhaps more appreciated over time. A lot of the sonic atmosphere comes from taking steps away from the album during its writing process. Leaving it off my mind for a few weeks or sometimes a month at a time, then coming back to it with a new perspective. I think this iterative process made it sound the way it does. Like multiple voices coming together for one journey.

V: "Hydrophilous Brood"这张专辑邀请鼓手Allen合作，当初是什么契机决定不再使用编程鼓，邀请他全程录制鼓组？真人鼓带来的动态、轻重力度变化，弥补了编程鼓哪些短板，未来有可能进行现场演出吗？

You brought drummer Allen on board to record all percussion parts for Hydrophilous Brood. What led you to abandon programmed drums and recruit a live drummer for an entire full-length record? The natural dynamics and varied striking intensity of live drums fix many limitations of programmed percussion — what specific flaws of digital drum tracks did real human drumming resolve? Do you have any plans to play live shows with this lineup in the future?

G: 我觉得是时候在这个项目中终于加入一位真人鼓手了。我感觉自己已经将这种音乐风格的鼓机编程能力发挥到了极致，为了追求真实感和动态表现，甚至到了令人厌倦的地步。而真正的鼓手解决了这一问题——艾伦带来了他精湛的技巧和创造力。我们曾讨论过在适当的时候组建一支完整的现场演出阵容。目前我的家庭和工作生活还存在一些障碍，但我们希望将来能开展现场演出！

I felt it was time to finally have a human drummer in the project. I felt like I had extracted the most out of my capabilities of drum programming for this style of music, reaching tedious levels of trying to achieve realism and dynamics. A real drummer solved this tedium with Allen bringing his honed skills and creativity. We have talked about materializing a full live lineup at some point. Right now my home life and work life are obstacles, but we hope to get live shows going in the future!

V: 你还有什么爱好？比如桌游，游戏？如果可以定居在任意一个科幻宇宙，你会选择哪个，又有哪个世界观是你完全不愿涉足的？

What hobbies do you have outside of music, like tabletop games or video games? If you could live permanently inside any scifi fictional universe, which one would you choose, and which fictional world would you never want to live in?

G: 我最大的爱好是"万智牌"。这是我最喜欢的游戏，我通常每周至少玩一次。以前我玩得更频繁，还曾以团队形式参加过竞技级别的比赛。可惜新冠疫情导致团队解散，后来又因为工作变动，目前我只能和朋友们一起玩了。如果可以的话，我愿意生活在"万智牌"的世界里。在这个世界里，有太多不同的生存方式！而"疯狂的麦克斯"所描绘的虚构世界，则是我绝不想生活的。那里酷热难耐，水源和资源匮乏，每天都要为生存而挣扎，实在太过严酷了。

V: 下一步你的创作计划是什么？后续新作会继续拓展这条星际生物世界观，还是开启完全独立的全新故事篇章？

What creative plans do you have next? Will your upcoming records continue to expand this established cosmic biological lore, or will you craft entirely separate, standalone storylines?

G: 接下来是我正在为个人项目 Lureplasm 制作的第二张专辑，以及该项目与我朋友的项目 Hypomanic Daydream 合作的一张合辑。至于 Sallow Moth，我们已经慢慢开始筹备下一张专辑，但目前还没有录制任何内容。目前，我对未来歌词的方向尚未确定，但我设想下一张专辑至少会延续《Hydrophilous Brood》的主题。不过，故事背景或许会设定在另一个世界。

Next would be the second album I’m working on for my solo project Lureplasm and a split for this project with my friend’s project Hypomanic Daydream. For Sallow Moth, we have slowly started the next album but nothing is recorded yet. At this time, I’m undecided on what the future holds lyrically, but I imagine the next album will at least be an extension of Hydrophilous Brood’s themes. Perhaps set on a different world though.

V: 非常开心今天可以采访到Sallow Moth！你的作品从风格到主题都让我耳目一新！我会一直关注并支持你！希望通过火山杂志的采访让你积累到更多听众与乐迷！在采访的最后有什么想对读者和乐迷说的吗？

It’s such a pleasure to interview Sallow Moth. Your music stands out uniquely in both sound and conceptual storytelling, and I will keep following and supporting your work wholeheartedly. This feature published by Volcano Magazine will introduce your project to many new underground metal listeners in China. To conclude this interview, is there anything you’d like to say to our magazine readers and your fans worldwide?

G: 非常感谢！能回答大家的问题，我感到非常高兴。感谢各位读者和粉丝的热情与支持。请保持创造力。

Thank you very much! It was a pleasure to answer your questions. To the readers and fans, thank you for your energy and support. Stay creative.