“It’s my favourite album”

When asked where The New Flesh sits emotionally in Sylosis’ catalogue, Josh doesn’t hesitate:

“It’s pretty standard to say that your most recent one is your favourite album, but it is for me.”

Rather than feeling pressure after the acclaim of the previous record, he describes a sense of momentum and quiet confidence. Interestingly, parts of the album were already in motion before A Sign Of Things To Come was even released. “There was an element of like, ‘Oh, we have to try and top that,’” he admits. “And then after a few songs were written, I was like, ‘Oh, this is going to be way better.’” Early tracks like “Lacerations” and the eventual title track “The New Flesh” shifted his mindset. What stood out most wasn’t calculation — it was excitement:

“When we wrote those, I was just like, this is really fun.”

That word — fun — comes back repeatedly. Not in a lighthearted sense, but in the visceral, amp-cranked, rehearsal-room energy that first made heavy music addictive.

Riff worship over optimisation

A major theme of the conversation was riff integrity. In a landscape where modern heavy music can feel “optimised” — slick, layered, hyper-produced — Sylosis remain stubbornly committed to core songwriting. “If you strip all of it away, the riffs hold their own, I think,” Josh explains. “We add stuff later on.” He contrasts this with parts of contemporary metalcore where, in his view, production can overshadow substance:

“You take all the sound effects out… just guitar, bass and drums, and you’re just like — it’s kind of average.”

For Josh, riff writing is almost archival work. He grew up immersed in 90s death metal — the era before hyper-technical excess took over — where songs were packed with memorable, hummable brutality. “So many of those riffs, you can hum them,” he says. “I have such a big pool of riff writing to reference.” Even when a riff is deceptively simple, the line between genius and boring can be razor thin. Referencing Pantera’s “Walk,” he laughs about second-guessing simplicity:

“Is it good simple or is it boring simple?”

Ultimately, it comes down to instinct — and gut feeling.

Anthems without compromise

One of the strongest impressions from The New Flesh is how it balances brutality with memorability. Josh lights up when this is mentioned. “That’s exactly what I want,” he says. He references Slipknot and their ability to make something as punishing as “People = Shit” feel anthemic, or Pantera’s The Great Southern Trendkill — crushing, yet unforgettable. Back in their early days, Sylosis aimed simply to be the heaviest band possible, drawing influence from abrasive acts like The Dillinger Escape Plan and Pig Destroyer. But as their musicianship evolved, some of that raw intensity softened. “With this album,” he explains, “I try and think about that a bit more.” The result is an album packed with live-ready moments — riffs and hooks built not just to impress, but to ignite a room.

Letting go of labels

An interesting shift for Sylosis is their relationship with genre boundaries. “We went on hiatus in 2016 because I felt like I put so many limitations on the band,” Josh admits. “I never wanted us to be called a metalcore band… I don’t really care now.” That openness allowed more hardcore influence into the songwriting — something he once resisted despite growing up on bands like Hatebreed and Terror. Bassist Ben, with his hardcore background, also contributed more significantly this time. The walls came down. The riffs got looser, more physical, more direct. And importantly, the band refuses to hide behind technology:

“If you put us in a basement with real amps and a PA, we can play our songs and it’s going to sound like us.”

No laptops required.

The “hole” in metal

Josh speaks thoughtfully about what he perceives as a gap in modern metal — not a lack of good music overall, but a scarcity of straightforward, riff-driven heavy metal in the vein of Machine Head, Lamb of God, or classic groove-thrash hybrids. “Metal in general is great,” he clarifies quickly. “There’s so much amazing death metal and crossover and metalcore… I don’t want to sound like a grumpy old man.” But when it comes to that middle lane — muscular, riff-first metal — he feels there’s space to occupy. Orbit Culture, Bleed From Within, Malevolence — he sees kinship there. Different sounds, same commitment to weight and memorability.

From introspection to confrontation

Lyrically, The New Flesh marks a subtle but important shift. “In the past, I did a lot of ‘woe is me’ stuff,” Josh says. “I guess I just did so much of that — there’s not much left to say.” This time, the anger feels more outward-facing. Less self-flagellation, more confrontation. Age, parenthood, and the state of the world all seep into the writing. The title track itself operates on multiple layers. Raised militantly atheist, Josh describes finding himself unexpectedly drawn to ideas of cosmic unity, simulation theory, or something beyond death — not necessarily believing, but wanting to believe. “Part of me is like, oh, that’d be nice if that was true,” he reflects. “It made me realise how similar that is to how religious people must think about heaven.” The phrase “The New Flesh” surfaced organically before he realised its connection to Videodrome. “The lyrics came first,” he explains. “Then I was like, ‘Oh yeah… right.’” It’s less direct homage than subconscious resonance — mortality, transformation, and acceptance bleeding into the language.

What makes a Sylosis song work live?

With the album releasing mid-tour, the new material is already being tested on stage. “You can just tell — the energy from us and the crowd,” Josh says. “When you write thinking more in terms of the live environment… it’s just kind of a natural thing.” A working Sylosis song isn’t about technical perfection. It’s about impact. That unspoken moment when the band and the room lock into the same pulse.

“As long as it’s good”

As the conversation winds down, Josh distils everything into one simple principle:

“I never get concerned about trying to reinvent the wheel… the most important thing to me is: is it good?”

He wants it to sound fresh, not dated. He doesn’t want to be a throwback band. But relevance, trends, and perception are secondary.

“As long as it’s good… that’s what matters.”

After a hiatus that could have fractured momentum, the band feels intact — perhaps stronger. “I just really appreciate everyone that stuck with us,” he says in closing. “Been patient with us, and comes to the shows. Thank you.” As Helsinki waited outside the venue doors, one thing felt clear: Sylosis aren’t chasing reinvention. They’re chasing riffs — and on The New Flesh, they believe they’ve found plenty worth remembering.

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