From Close To Home to Remember The Monsters: Andrew De Neef’s Full‑Circle Journey

From Close To Home to Remember The Monsters: Andrew De Neef’s Full‑Circle Journey

There’s a certain gravity that follows Andrew De Neef — a voice shaped by triumph, heartbreak, reinvention, and the relentless pull of music. From his breakout years fronting Close To Home to the cathartic fire of Actual Villains, Andrew has always written from the rawest corners of his life. Now, with Remember The Monsters and their upcoming album War of Attrition, he steps into a new era defined by emotional honesty, sharpened songwriting, and a renewed sense of purpose.

In this candid conversation, Andrew opens up about the personal battles that fueled the record, the evolution of Remember The Monsters’ sound, working with powerhouse producer Matt Good, the surreal experience of collaborating with Jay Gordon of Orgy, and the unexpected full‑circle moments that continue to shape his musical path. With new music on the horizon and momentum building fast, Andrew reflects on where he’s been — and where this next chapter is determined to take him.

We are here with Andrew from Remember The Monsters. First of all, how did you and Ashten Banks connect to form this band together?
The band actually existed a bit before I joined. We came together through a mutual contact — a guy named Will, who has been helping manage the band since the very beginning. I’m not even sure how Ashten originally connected with him, but I met Will in Kentucky around 2015, right when Close To Home was starting to wind down.

For a long time, Will kept asking me about singing for this band. They were already gaining traction and hitting some impressive numbers, but at the time I was really invested in my solo project, Actual Villains, so I resisted for a while. A couple of years later, the opportunity came back around. We started talking again, and I just loved working with Will — he’s a genuinely great guy.

Then I met the rest of the band and thought, Okay, I really love these guys. So long story short, it was a mutual friend in the industry who brought us together.

The new album is called War of Attrition. Is there an overall story or concept behind that title, and what does it mean to you personally?
Yeah, that’s a good question. A “war of attrition” is basically winning the battle but losing the war — putting so much into something that even if you come out ahead, the losses are so heavy that it wasn’t worth it. It’s a military term, but it works as a metaphor for toxic or unhealthy relationships.

For me, it hits close to home. I went through two divorces in five years, and that was a really rough stretch of life. With the last one, I put everything I had into that relationship. Then one day I came home and she was just… gone. She’s never spoken to me since. That was a brutal moment, but I came out the other side with a new perspective.

It also fueled a lot of songwriting. I’m sitting on 17 songs right now — most of them already recorded — because I’ve been writing like crazy. Sometimes the worst times inspire the best art, and this album is a perfect example of that.

Let’s talk about a few of the songs on the album. “Jaded” is the single. What was the inspiration behind it?
It ties into that same theme — life, relationships, and the emotional fallout that comes with them. As a writer, I try to focus on the feelings rather than the specific situations. The feelings come from real experiences, of course, but I don’t want to spell out every detail. I want listeners to apply the song to their own lives.

If you can capture the raw emotion — what it felt like to go through something — people will connect with it in their own way. Every song I write has a piece of my life in it, and that’s what makes writing so cathartic. But I also love when someone comes up after a show and says, “This song helped me through this,” even if that wasn’t what I was going through when I wrote it. The emotional connection is still real.

Let’s talk about “Toxic.” What made you decide to cover the Britney Spears classic — and why does it fit so well within the rest of the album?
That’s part of why we chose it — it actually fits the vibe of the record. And honestly, the lyrics are just fun. I’ve always had mixed feelings about covers, but I love putting our own spin on something and reimagining it.

Growing up in the ’90s and 2000s, Britney Spears was massive, and “Toxic” might be one of her best songs. The lyrics spoke to me, and the arrangement is so cool — those warped violin lines, the upbeat groove. When we were talking about potential covers, I could already hear a heavier version in my head.

Of course, someone else has always covered a song before you unless you release it a week after it comes out. But any time I’ve done a cover, it’s because I felt like we could add something new. And with “Toxic,” we definitely did. I’ll probably do another cover or two down the road because I really enjoy the reimagining process.

You worked with Matt Good of From First to Last on this album. What was it like working with Matt, and what did he bring to the overall project?
Man, Matt is awesome. If you know his work, you know he was the singer and guitarist for From First to Last for a long time — a really prolific band. But as a producer, he’s done some incredible things. He’s worked with Sleeping With Sirens, Memphis May Fire, Hollywood Undead, Asking Alexandria… the list goes on.

He’s got a fantastic ear. He helps shape harmonies, vocal layers, and overall structure as we write. His mixes are insane — the production value we get from working with him is on another level. We’ve been lucky to work with some of the best in the industry, and Matt is absolutely one of them. On top of that, he’s a good friend and just fun to be around.

I do want to give a quick shout‑out, though — not every track on the album was done by Matt. He did almost all of it, but we also worked with Hiram Hernandez on a separate single. Hiram is another close friend of mine and Matt’s. I worked with him on all my Actual Villains material, and he’s an incredible producer as well. So I want to make sure he gets credit where it’s due.

And which song was that?
That was “System Override” featuring Jay Gordon from Orgy — except, hold on, I just realized I misspoke. That song isn’t actually on the album. It was released as a standalone single. I should probably know our tracklist better, but yeah — that one isn’t on the LP.

Yeah, I’m looking at your tracklist now and I’m like… huh?
(laughs) Yeah, no — that was me just talking too fast. It’s an exciting song, so it popped into my head. But yeah, that one was released separately. We primarily work with Matt, but every now and then we’ll do something with Hiram too.

So that song with Orgy is out?
Yes, it is. It came out at the end of last year, and honestly, that was a dream come true for me.

Here’s a little backstory: my first concert ever — I think it was 1998 — was the Family Values Tour with Korn, Limp Bizkit, Rammstein, and Orgy. This was right before Orgy’s Candyass album dropped. I was in high school, and I remember being blown away by their whole aesthetic and sound. It was this synth‑driven hard rock that felt industrial, kind of like Nine Inch Nails or Marilyn Manson, and it just hit me in a way nothing else did at the time. I became obsessed with that band.

Fast‑forward to a year ago. I had written “System Override” back in 2020 during COVID. The whole song was inspired by the division and hostility happening in the world — people on opposite sides of every issue, screaming at each other, convinced they were right. I sat on that song for a long time, never fully finishing it, but I always loved it.

Hiram was working with Jay Gordon on a new track, and Orgy had been pretty quiet for a long time. I never even considered the possibility of working with Jay — it felt way too big, like something teenage me would have dreamed about. But Hiram connected us, and I asked if he’d be willing to show Jay the song.

Much to my surprise, I got a call saying Jay listened to it, liked it, and wanted to be involved. My head just about exploded. I’ve been a massive Orgy fan for over 20 years, so getting Jay Gordon on a track with me… that was truly a bucket‑list moment.

Has Remember The Monsters ever played live?
Yes — they did before I joined. But lately we’ve been treating it more like a studio project. It took us a while to really hone in on our sound. We all come from different influences, and as Ashten and I grew together as songwriters, I feel like we only truly stepped into who we are in the last six months. Even though we’ve been doing this for a few years, it’s been a real evolution.

In the beginning, we were trying to be very theatrical — big string arrangements, huge cinematic moments. Now we’re leaning more into the raw emotion of the songs instead of spending endless time polishing every detail. We’re trying to capture something grittier and more honest.

That’s part of why we’ve been stacking music away. We’ve been writing and recording with Matt nonstop. We wanted to build a following and make sure that when we do hit the road, we have a solid fanbase behind us.

And honestly, it’s no secret that touring is harder now than it’s ever been. When you and I first talked years ago, gas was cheap, the economy wasn’t tight, there wasn’t a war going on, and people were coming out to shows. Everything was easier. Now it’s tough — and as you get older, living out of a van and eating Little Caesars every day just isn’t sustainable. There aren’t even dollar menus anymore.

Music is still my passion. It’s part of who I am, and I can’t imagine life without it. I’d love to go on the right tour right now, but starting from ground zero wasn’t an option for us. We’re building smart.

Ironically, I was on the phone with our guitar player until about 4 a.m. last night talking about how we want to start getting show‑ready. Between us, we’ve had offers to open some tours, but logistically the timing just hasn’t been right yet.

Alrighty, so instead of asking you a zillion questions about your previous bands, I narrowed it down to two. I’m going to make these anniversary questions. Let’s talk about some of your anniversaries. In 2016, the Actual Villains EP came out. I can’t believe it’s been 10 years.
I didn’t even realize that. That’s blowing my mind right now.

When you look back on that EP and the fact that it’s been 10 years, what do you think of it now in retrospect?
That’s an interesting one. That EP was done with Tyler Smith — who is now absolutely massive as a producer, working with Falling In Reverse, I Prevail, and so many others. He was great to work with.

Actual Villains happened during the transition out of Close To Home. Members were quitting, and no one really wanted to continue. That EP was created when JJ, our guitar player, was still involved, so it still had that Close To Home flavor — a bit of pop‑punk influence.

I wanted to keep going. I didn’t want to put Close To Home to bed, but it wasn’t really my band. When Josh, our founding member, left, it didn’t feel right to continue. I wasn’t the original singer, the original guitarist was gone — it just felt like time.

But I wasn’t done with music. JJ and I kept writing for a while, and that EP came from that period. We were still playing live with the remaining Close To Home members, so it felt like a little spin‑off baby of the band for a bit.

When I moved back out West, I tried to keep it going, but it eventually fizzled out. That’s when I started working with Hiram Hernandez — that’s where “Losing My Religion” and “Void” came from. I also wrote several other songs with Hiram that are still sitting in a Dropbox folder… and some of those are about to come out as Remember The Monsters songs.

I just realized I can’t ask this next question because you weren’t in the band in 2006 — the Picture Perfect 20‑year anniversary. You weren’t on that album.
No, I didn’t join until 2010.

Right, right. So I’m going to pivot and talk about the Artery Recordings albums you were on. When you look back on those Close To Home records, what do you think of them now in retrospect?
It’s funny — I hadn’t listened to them in a long time, and then recently I went back and revisited them. There’s definitely a sense of pride there. Some of those songs still get me excited. There’s a lot of nostalgia tied to that era.

It’s wild how long it’s been, because it doesn’t feel like it. Those memories are still sharp. One of my favorite tours ever was our European run with Eskimo Callboy — now Electric Callboy. I’m actually going to see them here in Phoenix tomorrow, which is a cool full‑circle moment.

It’s been great reconnecting with people from that era. I still talk to guys like Garrett from The Color Morale. I try to stay connected to a lot of the people who were around back then.

Those records were fun to make. One was done with Andrew Wade, and the first one was done with Tom Denney from A Day To Remember. It was an interesting time — my daughter was born right when our album came out. We had a year of touring already booked, and I had a newborn at home. It was challenging, but memorable.

I’m still proud of the music we created during that time.

Would you ever want to do a Close To Home reunion show? Is that something you would even consider?
Yeah, I would definitely consider it. I don’t have any animosity toward anyone from Close To Home. I actually saw Josh Wells, our founding member, in upstate New York a year or two ago. We still chat. I get along with all those guys.

I don’t know how much demand there would be for a reunion at this point, but if there was a reason to bring it back around, I wouldn’t be opposed. I think it would be fun.

And Andrew, are you currently involved with any other bands or projects outside of Remember The Monsters?
That’s a tricky question. Not really. There is a potential side project being discussed, but right now my main focus is Remember The Monsters. We’ve got so much going on that it’s hard to make time for anything else.

And what do you hope the rest of this year brings for you and for Remember The Monsters? I think the album is about to come out next week.
Yeah, everything’s been in fast‑forward lately. It’s crazy. The album coming out is largely a repackaging of the singles we’ve already released, plus a couple of new tracks and a remaster of a Taylor Swift cover we did that performed really well.

But don’t expect us to quiet down after the album drops. We’re releasing a string of singles right after this — probably another EP, and then another one by fall. The next few singles are some of my favorite songs I’ve ever written. If they resonate with listeners the way they resonate with us and the people we’ve shown them to, this could be a huge year.

We just had our fourth premiere on Octane Radio, which is wild considering we’re an unsigned DIY band. Getting worldwide premieres on Octane is almost unheard of. We’ve already taken this further than any of us expected, and it’s motivating us to invest even more — more marketing, more pushing, more visibility. We’re not half‑assing anything anymore. We believe in what we’re doing, and I think this is the year where a lot of wheels start turning.

Do you have any messages for your fans — both the ones who’ve followed you since Close To Home and the ones discovering you for the first time?
Of course. We wouldn’t be anywhere without our listeners. As much as I love making music for my own joy, without people listening and coming to shows, it’s just a hobby. The connection — that feeling of a great live show, the energy in the room, everyone sharing the same moment — that’s what it’s all about. Especially in a time where there’s so much division, music is one of the few things that brings people together across different backgrounds, beliefs, and identities.

To new listeners, I’m incredibly grateful for every single person who finds us. I hope you share the music with your friends. I write the way I do because I want my words to help people understand, heal, and feel seen.

And to the fans who’ve been around since the Close To Home days… go take an aspirin, because your back probably hurts. Drink some water. You’re probably sore. But seriously — you’re only as old as you feel, and I’ve never felt younger. I’m healthy, I’m happy, and life has been good.

I’m grateful for where I am, grateful for my bandmates, and grateful for every listener — old or new.

In Conclusion

As War of Attrition arrives, Andrew De Neef stands at a rare crossroads — one shaped by decades of music, personal upheaval, creative rebirth, and the kind of resilience that only comes from living through the fire. Remember The Monsters may still be building their next chapter, but the momentum is unmistakable: Octane premieres, a growing catalog, and a renewed sense of purpose that pulses through every track Andrew writes.

For longtime fans who have followed him from Close To Home to Actual Villains and now into this new era, War of Attrition feels like both a homecoming and a bold step forward. And for new listeners discovering him for the first time, it’s the perfect moment to climb aboard — because if Andrew’s instincts are right, this is the year everything shifts into high gear.

With more singles, more music, and a band finally stepping into its true identity, Remember The Monsters are poised for something big. And as Andrew reminds us, the power of music — connection, catharsis, community — is what keeps him moving. After everything he’s endured, he’s not just surviving the war. He’s ready to win it.

(Interview by Ken Morton)

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