Album Premiere and Interview: Get Sucked into a Jazz-Grind-Drone Vortex with Deddom and Paxit

I guess there isn't any real way to introduce an international/intergalactic consortium of creative souls coming together to jazzgrind your mind away, but, hey, here's one way. In this installment of "expanding your mind with Machine Music" we have Deddom, a Ukrainian, a grinding wizard of absolute proportions (think Swarrrm, only somehow crazier?) and Paxit, an Amsterdam-based, inter/trans-national gang of noise/drone/experimental magicians. With each side contributing 20 minutes of unhinged musical fare, expect, well, 40 minutes or so of musical glory to diarrhea into your mind.

The new split/album, elegntally named Deddom/Paxit is out this Friday via RZRecords and Erythroleukoplakia Records. So go get that shit, and in the meantime enjoy this exclusive stream of this uncanny collaboration while enjoying the music-appreciation interview presented below.

If you're new to this metal blog of bones you can also check out the various interview projects I have going on as well as the weekly recommendation posts. And if you'd like to keep abreast of the latest, most pressing developments follow us wherever I may roam (Twitter, Facebook, Instagram, Spotify, Bluesky, TIKTOK etc), and listen to my, I guess, active? (no) podcast (YouTube, Spotify, Apple), and to check out our amazing compilation albums. You could also possibly support my unholy work here (Patreon), if you feel like it. Early access to our bigger projects, weekly exclusive recommendations and playlists, and that wonderful feeling that you're encouraging a life-consuming habit. It's probably a bad idea, but to each their own. On to Deddom/Paxit.

What was the first album you bought with your own money, and where did you buy it? 

Andrii (DEDDOM): I bought my first physical release in third grade using my pocket money. Back then, around 1996, my parents gave me a cassette player. I remember waiting for the weekend just to go to the market and buy a tape for it. So, my very first cassette was a compilation of post-Soviet pop artists. I don’t really remember what was on it, which is probably for the best. But it had a cool four pages booklet and it smelled amazing.

Sabixatzil (Paxit, bass, guitar): The first LP I bought with my own money was Testament’s Live at the Fillmore. That was back in 1995 at a Tower Records shop that had just opened in my area. I was about 14 and went with a couple of friends. Something made me buy that together with Garbage’s second album. Back then, whatever you bought you listened through a zillion times, and before realizing whether you liked it or not it had already scratched itself into your brain. 

gaop (Paxit, vocals, sax, violin, noise): An Elvis compilation cassette and the Scatman's World CD. It was one of those weird mom-and-pop music shops that still existed in the 90s, where it’s basically a nondescript room at a shopping center (not mall, mind you) stacked with whatever they were able to procure. Elvis was a hero to most, but Scatman John was an earworm I wasn’t able to ignore. 

Adam NishMa (Paxit, drums): Green Day – Dookie (on cassette), I was probably 12. Bought at an unmemorable shop outside of Tel-Aviv. The memory is sitting back at home listening over and over again while reading the lyrics.  

What 2-3 albums did you hear the most growing up? 

Andrii: As a kid, I mostly listened to pop and rap. My favorite was probably the first Backstreet Boys album. I still put it on from time to time now. Then I started listen to rap music. And my favorite was self titled album of Танок На Майдані Конго (Tanok na maydani Kongo).

Sabixatzil: Growing up I had my mom’s favorite cassettes: Queen’s Best Of, a compilation of Beach Boys songs, and a Beavis and Butt-Head cassette given to me by a friend. The one with Megadeth’s “99 Ways to Die." Man, that was a good one. 

gaop: Tales from the Thousand Lakes by Amorphis is the first that comes to mind, I was obsessed with it for years and years. Metallica’s S/T, and the third is anyone’s guess, my memory is tricky that way. I’d say it’s probably Nevermind, or The Jester Race by In Flames, or something by the Beastie Boys, but it could also easily be Fear Factory or the early Cradle of Filth albums, once I got obsessed with an album, I’d have it on repeat 24/7. Math wise, if a classic NOFX album is ~35min, I played them on my walkman nonstop, so maybe it’s NOFX. 

Adam:  Suede – Dog Man Star, for the drama; No Doubt – Tragic Kingdom, for the fun; U96 – Das Boot, for both of the above, plus the energy. Nothing too experimental or unique, the opposite if anything, I grew up listening to my parents music who liked 60s-70s rock/hits (think Hair soundtrack, Cat Stevens, Dylan, Beatles) and never lost the love for pop, including current by the way, but next to that when somehow I came across Merzbow one day, a new world opened up, I never expected to not be the only one enjoying his modem connection sounds. 

What albums taught you the most about the technical aspect of making music? 

Andrii: I think it’s Pink Floyd. I was amazed to learn that they approached songwriting like an architectural blueprint. It's how they organize a song's structure — planning exactly where the chorus, verses, solos, and transitions to other riffs go, moving into a completely different structure and then back again. The albums Animals and Wish You Were Here are just mind-blowing. I love it when music breaks away from cliché structures. 

Sabixatzil: My grandma, a classical music teacher, introduced me to Béla Bartók and Oscar Peterson and I was hooked on the freedoms the dissonant and melodious offered. Plus, all my father’s jazz and blues vinyls imprinted me with hungry ears. 

gaop: For me it’s Frank Zappa’s Apostrophe / Over-Nite Sensation double album combo. Probably one of my earliest conscious voyages into prog, jazz-fusion, and avant-stuff. It’s really fun and silly, yet doesn’t spare you from complex arrangements and experimental concepts. My first experience with it was on a school field trip, staying overnight somewhere in the desert. Some kid brought a copy. I was instantly hooked. The kids I shared the room with were much more into hippie stuff and prog, while I preferred my music a bit more aggressive, be it metal or rap. Another vivid memory from that excursion was one of them playing Janis Joplin on vinyl a jukebox on the ground floor of the hostel. I think that was my first time really listening to her. So this is not about the technical aspect of music making as in sound engineering, but rather about how complex instrumental proficiency works and sounds. If anything, sound manipulation and experimentation came at a much later phase for me, as a part of the DIY ethos forged with the local punk and noise scenes. 

Adam: Probably Never Mind the Bollocks, Here's the Sex Pistols, where the lesson, which was and still is hard to take in, but the one I consider most important, is to just not care, do your thing and move on. Today I see this with Fred Again for example and I can also see the downsides – this attitude means a lot of the output is less than great, but it allows you to keep doing more, and out of all you do, there are some amazingly unexpected results. 

What is the last album that absolutely shocked you? 

Andrii: I'm pretty hard to shock when it comes to music. In fact, things turned out in a way that the most shocking music out there is actually made by me. The trend among artists right now is going the opposite way — they try to make the most basic tracks possible for a massive audience to blow up on TikTok. You'll probably never find anything wilder than my album "When you find out the amount of your pension and start thinking what to do with it". 

Sabixatzil: Neumann by Baan from South Korea came out last year. Still wrapping my head around that one. It’s just perfect to my ears. 

gaop: For Your Pleasure by Roxy Music. I missed out on it, completely. I always loved their singles, but never dug deep enough into the catalog. Discovering this album in the last few months was a gift, the shock was more about just how good it is. 

Adam: Burial – Untrue. I know, very unorigina. At a certain age things can be exciting, moving, fresh and smart but I rarely shocked and that happened last time only a few years ago when I came across Burial, which feels so honest, direct and open. There’s no non-cliche way to describe it as anything with major hype, I just stand behind any praise already said about this album. Honorable mention goes to Jazmin Bean with her debut album Worldwide Torture, found when someone used one of her songs in some facebook story that sent me running to search for the song, listen to it nonstop for at least a week, and finding out she has a gig in my town a few weeks later where I was the only adult in the room (and had great fun) – check out the song "Saccharine." 

What album relaxes you or centers you the most? 

Andrii: I absolutely love the band Men I Trust. They are my go-to whenever things get stressful. I’ve also hooked on noise music. Sometimes I like to work to warm brown noise or something like that — it helps me focus and blocks out background sounds. I really dig Forest of Frogs. 

Sabixatzil: That would be the City of God soundtrack. There’s just something to it that reminds me it’s okay to be a flawed human on a flawed earth. 

gaop: Early Boards of Canada, first two albums, first three EPs. Put them on and my heart rate immediately drops, my breathing changes, my entire nervous system mellows out. 

Adam: Any album by Regina Spektor, there’s everything – some drama, melody, fun, sadness, play… She can cover most moods 

What are the 2-3 albums you’ve listened to the most recently? 

Andrii: It’s been all about Sade lately. I overplayed her until I literally couldn't take it anymore. But right when I got burned out, my daughter started blasting her 24/7. Sade's music is amazing — it feels so alive, engaging, and it's perfect for winding down and focusing. Finding that kind of headspace these days is worth its weight in gold. 

Sabixatzil: Savage Imperial Death March by Melvins and Napalm Death, Erev Shel Shoshanim by Haparvarim, and Modus Operandi by Photek. Syncretic tastes I suppose, but I try to make it work. 

gaop: Mine are: Ennio Morricone – Mio Caro Assassino; Die Kreuzen – October File; Harry Pussy – You'll Never Play This Town Again. Ennio has been a mainstay since I was a wee lad, the other two are absolute gems and genre classics. 

Adam: First Man (OST). Probably soundtracks are the only things I listen to in album form, start to finish – otherwise it's usually a playlist and for the past few years that means a lot of drum and bass, and some 80s pop hits. 

What album is grossly underrated? 

Andrii: I think the Ukrainian metal scene as a whole is highly underrated right now. Bands that play and sound just as good as top-tier international artists—making music that is genuinely interesting and catchy—get very little support from the audience. Experimental music also pulls in very few streams at the moment. Instead, minimalism and the repetition of predictable musical ideas are what get rewarded. 

Sabixatzil: Malvina Reynolds Sings the Truth. 

gaop: That’s a great question, because it usually leads to a philosophical debate about what being underrated actually means, and a lot of the time it’s a generational thing, but I’m not going to stir up ageist shit now, so I’ll just say that ya’ll need to listen to Free Jazz en el Barrio by Daniel Correa, Hector Marín, and Pacho Dávila. While I have your ear about albums that need to get their day in the sun, you need to listen to DEDDOM’s When you find out the amount of your pension and start thinking what to do with it which originally got me into the Andriiverse. 

Adam: AMIT – Never Ending. In a vinyl-only set at Stupid (Amsterdam) last week, and vinyl usually means older tracks, Adi-J had Amit’s track "Swastika" on and it felt fresh, and relevant and stood right up. Later at home I went on to listen to the album and the trend continued. Seeing it was released in 2006 I assume it might have been a bit too late to catch on, but I’m surprised I only found out about it now and that it isn’t more known. 

What album would you recommend from your local scene? 

Andrii: Check out Dopeotter, Red Eyed Hyena, and The Willow's Hills. It’s great, high-quality music that takes a creative and interesting approach while still being very easy to listen to. 

Sabixatzil: Vinticious Versions by De Staat – strong Devo aura. 

gaop: You can’t go wrong with any of the Jarada releases. Aggressive hardcore punk at its finest. They only had three releases, all three just under the 15 minute mark. And I’ll throw in the complete Ka'tzon La'tevach catalog too. More hardcore punk, but this time it’s what the kids called “blackened”, and more on the crust and d-beat spectrum. Another very short discography, but the quality is super high for both. 

I’m going off script here, you said one, but I also can’t wait for the upcoming Acid Boys album. The two singles so far were superb. 

Adam: Do EPs count? They do now: Eluun – SOULCHILD, not 100% local scene but near enough just across the border, in France (I’m in Amsterdam NL) Eluun brings a soft sensitivity to harsh music and this EP shows it perfectly, it feels as if my brain is being pulled in all directions at once. The tension build is insane, the attention to details, the depth… She is signed with a (rather) large label and over the past year I can see more people getting to know her but the reach can grow a lot if we look at the quality and emotion of her output.