Genre is Death
Since trading the "wizards, mountains and weed" of Atlanta for the New York underground, Ty V and Tayler Lee have embraced a philosophy of "making without thinking;” the noise duo released their second album May 1. Almost a year in the making, this interview is an authentic view inside a band otherwise veiled in mystery — and just like this interview, “Attractive People” is a record worth the wait.
Here, Lee discusses Genre is Death’s new album, its creative philosophy and the world-building spirit of the New York City scene.
YY: I read a lengthy writeup of your performance at 2024’s New Colossus Festival in New York, which mentioned your use of programmed drums on stage — how do you think not having a permanent drummer in the band affects what you create?
TL: Not having a drummer in GID centers the band between Ty and me. There are only two people on the stage, two people who write, two people who present us. The band becomes us and we are the band. Because Ty and I are so close, we don’t have to suffer through awkward roundabout conversations with one another while creating. We aren’t afraid of hurting each other’s feelings or having miscommunications and that makes us uniquely unified. It makes writing with Ty awesome.
That being said, to us it is less about drummer vs drum machine and more about 2 bodies or 3 bodies or 4 bodies — the more people in the band, the more people that need to be absolutely convicted, and be people who Ty and I like.
Similarly, one of my favorite topics is the idea of restriction promoting creativity — do you find that you can be more innovative with less resources at your disposal?
I understand what you're getting at, but I don’t see the drum machine as a deficit of a resource. A drummer and a drum machine are both resources, just different ones. Ty and I receive that feedback often and it makes me wonder if the intuition that the drum machine isn’t a ‘valid’ resource is a valid intuition. I don’t see people have the same feeling when there are synth players or keyboardists. No one in rock n roll spaces boasts that a band would really benefit from a grand piano. Are some bands made worse by their drummers? Would some bands benefit from programming their own drums? If the drum machine is played live by a person does that make a difference in the perception of it? Or is the drum machine, whether played live or played back, perpetually pinned against its archetype as a subordinate rip-off? And the funny thing is that I love live drums. Who doesn't? We don’t play with a drum machine as a statement against live drums. We play with a drum machine because we didn’t know anyone when we moved to NYC. And during that time, we have found that programming and writing drum machine beats is its own skill. I could see us playing with a drummer in the future though… it all depends.
With a raw sound that has been described as "shocking, thrilling, deafening," some listeners might be quick to draw comparison to older no-wave or noise bands (I recognize the irony in discussing labels here). What do you think sets Genre is Death apart from those bands of the past?
There is absolutely an energetic, sonic and philosophical kindred spirit between us and those bands. I mean we love those bands! In and outside of that scope! The Birthday Party, Fugazi, Black Sabbath, Eyehategod, The Art Gray Noizz Quintet, Hank Williams Jr., Glenn Branca, Sonic Youth, The Contortions, Country Teasers, Rowland S. Howard anything…
The biggest thing I think that sets us apart from those bands is the context. They are the 1970s, 1980s, 1990s and we are 2026. There are political differences, cultural differences, sexual differences. And LARGELY technological differences. Photo and video were novel experiences, and because they were new, the relationship between photographer, subject, and image seemed spontaneous even when posed. But, with each decade photo, video and the sharing of photo and video have lost their novel appeal… They have become expendable resources that are captured, sent out and repeated ad infinitum. The ability to take a photo/video whenever, wherever, decreases the value in them. I think that is the largest difference: today the relationship between photographer and subject is less thrilling which can turn into a sort of prudishness. The exact opposite of No Wave Cinema.
"Genre is Death" can be interpreted as more than just a name — a statement perhaps. If so, can you speak more to its background and the band's general philosophy?
I think Genre is Death was in part a rebellion against ourselves — we played for four years in a sludge band in the suburbs of ATL & while we had our fun, we became tired of wizards, mountains and weed. We were trying to make something that wasn’t defined before its creation. Post-sludge band break-up, we laid out a rule that demanded no matter how we felt about a riff, we had to follow the riff through to fruition. And honestly, in doing so, it forced us to work with things we would have previously abandoned and make songs that are awesome that we may have passed on writing.
The band’s philosophy is to make without thinking. You can think post creation. But not muddle down the creation while creating it. That’s where things become unenjoyable. But it is also to take oneself seriously as an artist. This does not mean to become a pretentious wet rag. That is also unserious. But to believe in what you create. Know your limits but not be ashamed by them. There is a culture of humor that has made everything into a joke. If something is compelling it must be undermined with humor or self-deprecation. That’s uninteresting and tragic, especially when this crutch gets reiterated by brilliant people.
“Attractive People” was put out via In the Red Records — how has the help of a label changed how you operate as a band, if at all?
They have an insane catalog — Country Teasers, Jay Reatard, The Spits, Pussy Galore, Des Demonas… Like what the fuck! I don’t know if its necessarily changed the way we operate as a band but I will say we have learned so much from working with ITR. It’s our first time having a publicist, or ‘rolling out’ a record. First time discussing distribution or having our LP on a physical record. Working with ITR has opened our eyes to more possibilities and we are excited by them.
As a West Coaster, my knowledge of New York's current local music scene is limited to what I hear from artists or people at shows. I've heard some great music recently from relatively fresh New York bands — what are your thoughts on today's musical landscape in the city?
There is so much great music happening in the city right now. The Art Gray Noizz Quintet, Joseph Keckler, Pop Music Fever Dream, Yard., Suburban Speed, Billy Plastered, Erica Manicini’s Electronium, Lacey Spacecake, Kilynn Lunsford…!
The best of NYC music landscape is:
The bands who create a world inspired by the music they are making. All the bands I mentioned above are not just musicians but world-builders. I love that. That inspires and excites me. Also it’s just interesting that being a musician is a visual experience and not just an auditory one.
TV Eye. Jonathan Toubin is the best club owner and an awesome human being. It feels like home away from home there. I love the staff (shoutout Diego, Brian, Jacob). I love the food (shoutout Luther’s). I love the bands playing. I love the decor. I love the insane wrap-around bar that goes from the main venue space to the green room. I love the patio which is the best outdoor patio any venue has ATM. I love the variety of music that TV Eye hosts. I love the Lone Star beer.
Perry Masco’s poetry nights at KGB “Tales from the Rock n Roll Underground”
Any time I can listen to music outside RE: Show Brain, Under the K Bridge & Ripper’s at Rockaway Beach
The rock n roll family we have here. It’s so special to see the same faces all the time and them grow from unfamiliar ones to the best people you’ve ever met.
With your second album out now, what else is on the way from Genre is Death, and what are you most looking forward to in the near future?
Right now we are both so focused on moving out of our apartment. I have a book manuscript due July 1. Ty just began working a hybrid job as a sculptor/exterminator. Lol he paints and sculpts until he gets called into pest control. So awesome. And, our label is working with us to get an EU booking agent. That would just be the best thing. We want to tour tour tour, play play play. We really love what we are doing.
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