Full Album Stream: Gorephilia – “In the Eye of Nothing”

Much has changed for Finnish death metal institution Gorephilia since 2018, when the band released a split with fellow Finns Undergang, most notably the death of longtime vocalist Henu in December 2019. In the wake of the loss, his bandmates soldiered on with guitarist Jukka Aho assuming vocal duties, using lyrics Henu penned before his death, for their third album, In the Eye of Nothing.

At nine tracks of varying lengths, In the Eye of Nothing distills death metal down to a pure, thought-out form. Thick, plodding riffs anchor the record, each one sounding like it was carefully chosen and put in its place. Aho’s cavernous vocals contrast the clear production, which allows each piece to stand out, regardless of tempo. This is Gorephilia’s second album to feature these four members and the familiarity shows in the precision and restraint used in their playing.

In the Eye of Nothing is the clearest manifestation of our vision yet,” Aho says, explaining the album to Decibel. “The production is basically what we’ve been going for since the beginning and it really does justice to what, in my mind, is easily our greatest songwriting and lyrical output ever. Some of the song ideas are brand new, some predating our first demo. I’ve been burning to get this one out. Even though our original singer Henu never got to see this release, it still carries his last lyrics from beyond the grave as a farewell and a tribute.

“Embrace the infinity of empty nothing!”

Gorephilia’s third album is set for release on October 2 via Dark Descent and Me Saco Un Ojo, but you can gaze into nothingness with an exclusive stream now.

In the Eye of Nothing by Gorephilia

The post Full Album Stream: Gorephilia – “In the Eye of Nothing” appeared first on Decibel Magazine.


Exclusive Excerpt: Exhumed Mastermind Matt Harvey’s Gore-Drenched Cosmic Horror Novelette “The Vessel”

From getting deep into the “Matter of the Splatter” via inventive, evocative lyrics penned for Exhumed and Gruesome to the text bubbles of the wild comic Howl a few years back, Matt Harvey has been on a delightfully deranged creative journey. But none of what has come before will quite prepare you for “The Vessel,” the death-metal-bar-raiser-turned-author’s brilliantly rendered mind-bending, reality-refracting cosmic horror novelette which appears alongside equally masterful spine-tinglers courtesy A.S. Coomer and Lucas Mangum in the must-own Grindhouse Press anthology Horrorama — edited by the great C.V. Hunt no less! (Out tomorrow; purchase direct from Exhumed’s Official Gore Emporium, Grindhouse Press, or over at the Amazon-dot-com.)

“I’ve always written for fun — and I’ve been doing a lot more of it the last few years,” Harvey tells Decibel. “I’ve found it’s a great way to pass time on tour, especially on the many interminable van/plane/bus rides that fill up so much of my time. A couple of years ago, I befriended an Exhumed fan who is an excellent writer named Rachel Deering — seriously, track down her stuff, I highly recommend it. Her novella Husk is a great place to start. We became buds I ended up officiating her wedding, where she introduced me to a friend of hers at Grindhouse Press. Her introduction was something like, ‘Harv’s a writer, you should publish one of his stories.’ I sheepishly explained that I wasn’t really a writer, but they published the story anyway, so I guess in hindsight, that was a lie, because now I am a writer.

“I developed ‘The Vessel’ from a shorter story I had sketched out about a deprogrammer and a Lovecraftian cult, and it sort of took on a life of its own from there. It was a lot of fun and a really exciting challenge to come up with the story. There are few things more satisfying than typing “the end” when you complete a written work. If I were to describe the story, I’d say it’s a cosmic horror / detective tale with more than its fair share of gore. Shocker, right?”

And now…the excerpt!

Slowly, the assembled Heralds of Celestial Ascension began to speak. Some of the neophytes mumbled haltingly at first, as the words were strange and hard to master. But as they repeated them, they grew strong and clear.

Ek Mynehli Shabba Kekh—Emerge!

Venth Mynehli Eb Supptu Kekh—Emerge!

Venth Nahi

Venth Ypskellum

Venth Inkhum


With each repetition Annika’s tongue wrapped itself around the strange words more and more adeptly, her voice merging with the others, the chant filling her with a calm openness. Their voices coa- lesced into one, and with each repetition, she felt herself slipping away, being subsumed by the words. “Love is letting go,” the Elder had told her—letting go of expectations, of the ego, of the person she had been to embrace a truer reality — something deep and important. Whatever barely remembered doubts she had completely evaporated. All that remained was a warm, enveloping haze that was as close to love as she had ever experienced.

At her feet was the cause of her fading apprehensions, a naked cadaver, once a pretty brunette, trim and tall. Now her skin was a glacial blue, her eyes yellowing, pupils occluded with a milky glaze. Those dead, dull eyes gazed emptily up at nothing, oblivious to the figures that encircled their corpse and watched over it for the better part of a day. None of them looked at the dead woman’s eyes though—they watched her abdomen. Something was moving inside her, sending spasmodic ripples fluttering across her bluing flesh. At last, their Master was stirring.

All at once, from within the corpse’s thorax came a wet, gurgled chomp. The body’s lower half convulsed fitfully, legs twitching in a flurry of spasms. The chewing became more insistent, each bite accompanied by an oozing, billowing motion across the dead woman’s stomach, like watching a ripple across a lake from underwater. Her corpse twitched more and more violently now, threshing in mute convulsions. The legs splayed out in unnatural angles, and the bones snapped with a sound like twigs trampled underfoot as the contor- tions whiplashed through her extremities.

The carcass’s legs having been wrenched sufficiently akimbo, the thrashing ceased. Before long, a moist sucking sound emanated from the corpse’s distended abdomen, a gurgling, gagging swallow of some foul-smelling fluid. Then, all at once, a gush of blackened ooze erupted with tremendous force from between the body’s legs, spurting through the birth canal like an aberrant mockery of a pregnant woman’s water breaking. This deluge of filth was followed by a wet, belching slosh. After the initial ejaculation, the foul-hued gunk con- tinued to leak slowly from between her splattered thighs, dripping onto the floor and filling the room with an overpowering reek. Warm and acidic, the smell was of something older and more wretched than decay. The gnawing continued to increase in volume as their Master drew closer, bite following bite more rapidly, gnashing toward a repugnant crescendo. The sounds of splintering bone and cartilage filled the room and one of the neophytes dropped their corner of the cradle and vomited. As the malodorous atmosphere and nerve-wracking clangor of the chewing reached an intolerable zenith, the corpse’s pelvis burst open with a final, wrenching creak. Shards of bone, sinew, and a torrent of polluted blood, sultry with the remnants of the black ooze, sprayed all over the room. The cradle and the remaining neophyte bearing it were drenched in the thick, syrupy fluid, and the one who vomited fainted dead away in a corner, collapsing into the puddle of still-warm sick at their feet.

The flesh that remained of the corpse’s pelvis, blossomed like the petals of some hideous, malformed flower, was hanging on the shards of the ilia, glistening with blood befouled by the black secre- tion. It dripped from the shredded cartilage and sinew like morning dew on blades of grass. From this gore-soaked aperture, the Master of these hooded devotees finally emerged. For some of them, this was their first time laying eyes upon the creature. Whatever they were told to expect was insufficient to prepare them.

The post Exclusive Excerpt: Exhumed Mastermind Matt Harvey’s Gore-Drenched Cosmic Horror Novelette “The Vessel” appeared first on Decibel Magazine.


Album Premiere: Empress – ‘Premonition’

Vancouver post-metal project Empress are refreshingly candid about their band’s origins. The genesis of the band is linked to the majesty of witnessing psych heavyweights Elder live. But Empress isn’t a tribute project or defined by shallow mimicry. After their supernova of inspiration, Empress has explored introspective themes across their introductory releases. Now they’re releasing their debut LP Premonition, scheduled to be uncaged on October 9th. The album will be released by new Hammerheart Records sister label, Petrichor. Lucky for you, we have an exclusive stream of the full record 9 days early.

From the first bars of “A Pale Wanderer,” Premonition pours from an open heart. Whether they’re basking in lunar melodies or unleashing blastbeats, Empress retain an emotional core throughout Premonition. The opening track slyly dips into sun-warmed psychedelia before taking shelter in the shadows of nocturnal shoegaze. The crawling bass of “Sepulchre” invokes Conan’s heft if they sang about slaying mental illness. “Passage” coils around a sizzling guitar solo. Disembodied from the record, the tortured blasts of “Trost” feel like they’re on a different planet than the muted menace of “Hiraeth.” But the progressive post-metal of Premonition boasts a wildly eclectic of influences. Despite the variety, the album feels cohesive. Each song solemnly burns the same funereal incense. By the time the roar of “Lion’s Blood” fades, Empress personifies catharsis across 49 minutes of evocative heaviness. The album is dedicated to the memory of bassist Brendan Gunn, who unfortunately left us last October. The agility of each song’s composition feels like the spectrum of human emotion. Loss and melancholy. Ensuing rage. The warmth of remembrance.

Listen to Premonition below before it’s released on October 9th from Petrichor. Surrender to the lush melodies and jagged aggression by pressing play NOW.

Premonition by Empress

Pre-order Premonition from Empress on Bandcamp HERE

Follow Empress on Facebook for news and updates HERE

The post Album Premiere: Empress – ‘Premonition’ appeared first on Decibel Magazine.


SEPULTURA Launch Environmentally Conscious Video For “Guardians Of Earth”

Ever conscious of their surroundings, Sepultura have released the video for “Guardians of Earth” in collaboration with Amazon Frontlines.

The lyrics for the song were inspired when frontman Derrick Green happened upon the groups Instagram page where the images struck such a chord that he felt compelled to document the events through verse.

Watch “Guardians of Earth” below:

Continue reading SEPULTURA Launch Environmentally Conscious Video For “Guardians Of Earth” at HEAVY Magazine – Rock, Punk, Metal Music & Beyond.



With the impending hometown Winter upon them, The Night Flight Orchestra hope to instil a bit of warmth in proceedings with their new single “Impossible”.

A statement from the band reads: ” Sebastian ForslundSome bands might get depressed when the summer ends and the darkness is coming closer. But not The Night Flight Orchestra. Instead, they choose to celebrate the summers that were, the summers that might never come again, but will always be with you, like a tiny sprinkle of Champagne to thaw your frost-bitten heart.

Continue reading THE NIGHT FLIGHT ORCHESTRA Achieve The “Impossible” at HEAVY Magazine – Rock, Punk, Metal Music & Beyond.


DECAPITATED Re-Sign With Nuclear Blast

After a successful decade-plus relationship, Polish Tech Death metallers Decapitated and Nuclear Blast Records have reaffirmed their commitment to each other by inking a new deal.

In more exciting news, the band have also hinted at new music in the near future with guitarist Waclaw “Vogg” Kieltyka releasing the following statement: “We have been working with Nuclear Blast Records for over a decade now and I am more than happy to announce that we have re-signed our contract.

Continue reading DECAPITATED Re-Sign With Nuclear Blast at HEAVY Magazine – Rock, Punk, Metal Music & Beyond.



Brisbane prog-rock outfit Patient Lounge have dropped the video for their latest single “Places”.

This is the third single from the band since their inception in 2019 and reaffirms their status as one of the bands to watch in an increasingly populated music scene.

“Places” was shot at the iconic Brisbane Powerhouse and directed by Adrian Goleby (Caligula’s Horse, Glass Ocean, Voyager).

Continue reading PATIENT LOUNGE Going “Places” at HEAVY Magazine – Rock, Punk, Metal Music & Beyond.


Q&A: Adam Wakeman on the ‘Jazz Sabbath’ project

If anyone knows Black Sabbath’s work intimately it’s keyboardist and songwriter Adam Wakeman. His father Rick (of Yes fame) played keyboards on Sabbath Bloody Sabbath. Sabbath must run in the family; since 2003, Adam Wakeman has toured with Sabbath and also worked closely with Ozzy writing his 2010 album Scream. During a lonely night at a hotel bar about seven years ago Wakeman came up with the idea to do an album of Sabbath jazz covers. That idea soon expanded to include a short comedy documentary a la Spinal Tap about how Sabbath stole all of their early material from a jazz pianist (watch it below). But it’s far from a musical joke: Jazz Sabbath, released as the coronavirus hobbled the globe, includes what this writer considers some of the finest Sabbath covers ever. Wakeman talked to Decibel about the project and how Ozzy surprised him with his Dad’s keyboard from the Sabbath Bloody Sabbath sessions. 

Can you walk me through how this project came together?
It came to head while I was on a Black Sabbath tour in 2013. I’d been out for a drink with a friend and came back to the hotel and no one was at the bar. There was a piano in the corner. I grabbed another drink and sat in the corner and to amuse myself started playing improvised jazz versions of the set. That was it, really. I thought it was quite an idea. I also started thinking of this fictional character Milton Keanes, a jazz pianist who thought all his songs were robbed by Black Sabbath in the late 60s. Then I came up with the idea of a short documentary that had all sorts of celebrities talking about Jazz Sabbath. It seemed worth it to make the documentary and the album if one or two people got fooled (laughs). Fortunately, I wasn’t disappointed because a lot of people were confused!


If you look back at the earliest Sabbath stuff, particularly when Bill Ward was in the band, there is a heavy jazz undercurrent. The rhythm section played like a jazz band.
Bill’s drumming was so jazzy and so different from what a normal heavy drummer would do with those riffs which is why it’s so great. Sabbath was always the sum of the four parts. Geezer (Butler, bass) handles so many of these songs like a jazz player. All these different musical ideas made it what it was.

Did you talk to Tony or Geezer about this idea?
I kept it very much to myself for a while because I didn’t know if they would be ok with me doing it. I did eventually get Sharon (Osbourne’s) blessing and the band’s blessing. Some of the arrangements I wrote on an Ozzy tour two years ago. When Ozzy had to cancel a tour due to ill health I was able to start recording.

How did you decide what songs would work best as jazz arrangements?
I sat down at a piano and played some of them and chose the ones that came naturally as an arrangement or a melody. I tried “Paranoid” a few times and it was such a struggle to make it sound right. “Hand of Doom” worked well right away. Some of the arrangements are pretty out there but I always tried to get back to the theme.

One of the things I loved about the album is how you play with listener expectations and present songs completely different than what we might expect. I’m thinking in particular of the cover of “Iron Man.” Was that the intent or did that come along when you were improvising?
There are a lot of bands that have done jazz versions of songs but I wanted to be able to perform the songs as a trio. In the beginning, I thought about having horns or maybe I’ll hire a guitar player. I decided to keep it as a trio. I am not a trained jazz player so this is my take on jazz as opposed to traditional jazz, I’m a big fan of (jazz pianist) Monty Alexander who is a brilliant crossover player. He was an influence. Anything you try too hard to do doesn’t sound genuine so I tried to play these songs in the style that felt right to me.

Is there anything about Black Sabbath’s music that lends itself to jazz?
Well, we talked about the drums earlier. If you took Geezer and Bill out it would be a different band. You could still recognize it but the rhythm section is so unique. I was lucky enough to play with Bill in the early 2000s and he was just such a force. The thing that gets a little lost with musicians these days is that they practice so much and are so consistent with their technique. I’m not saying people shouldn’t rehearse but there is something about players from that era where it seemed like they were playing to the very edge of their ability. A lot of bands now are so well toured and rehearsed you sometimes lose a bit of the excitement.

One thing about the jazz and blues idiom is those improvisational elements and an expectation that part of the music is how a player copes with mistakes.
Absolutely. Jazz pushes people to the edge of their ability. That’s what a miss about music now, especially when I do a pop session A lot of that push to the end of the cliff is taken away. It’s cool when people can push out that little extra percent without falling over.

You have played with the real Black Sabbath. There have been so many Black Sabbath tributes and covers. Given your proximity to the band, how did you make sure the end product added to what Sabbath brought to the world?
I was frightened to start recording. But I wouldn’t put something out I wasn’t happy with. If you make music that you enjoy listening to that is half the battle. I make music primarily that I like listening to and that was the benchmark.


There are some amazing full circle components to this record. Your father played on what was Sabbath’s most progressive record and here you are doing something forward-thinking with the music.
That’s very kind of you to say. When I was writing the Scream album with Ozzy he dragged in an ARP 2600 which is a really old synthesizer. It said, “1976 Black Sabbath” on an old sticker. Ozzy said “I don’t know if it works” but that the last person to play on it was my father on “Sabbra Cadabra.” I told Ozzy we had to get it on the record. We got it to work long enough for a few tiny bits on the Scream album. That was definitely a nice full-circle album.

Have the members of Sabbath and your father all heard the record at this point?
Yes! I actually got an e-mail from Bill Ward’s assistant and he said Bill has seen the documentary. I’m sending the album to him tomorrow. I think I would have heard from lawyers by now if the rest of the band didn’t like it (laughs).

Were there any hopes making this that you would turn on Sabbath fans to jazz music?
It’s definitely a passion project. But I can’t help thinking there is such a misconception about heavy metal fans. People outside of metal think the only music metal fans listen to is metal. That’s so wrong. I don’t know anyone who just likes one genre of music. As much as this was a selfish project and there is comedy involved there is so much lost in modern music and jazz and metal actually go hand in hand.

When our current predicament hopefully ends is there any thought to playing these songs for an audience?
We were discussing that very option before the pandemic happened. Promoters in South America said the response to the album there was very strong and asked if I’d be interested in coming to Brazil, Argentina, and Chile. It’s something I’d love to take out on the road.

What has Black Sabbath meant to your life?
It’s changed my life. I played “Iron Man” in my school band when I was 13 years old. I never dreamed it would end up with me playing with the guys. And it’s lasted a long time; I’ve played all of the Sabbath shows since 2003. They’ve always been so gracious to me. They are gentlemen first and foremost.

The post Q&A: Adam Wakeman on the ‘Jazz Sabbath’ project appeared first on Decibel Magazine.


Track Premiere: Malicious – “Death Embalmed”

Nearly a decade after forming, but finally Finland’s thrashing old school black/death legion Malicious will release their debut album Deranged Hexes. Across the eight tracks that comprise Deranged Hexes, the Finnish quartet maintain a demonically charged intensity, slaying relentlessly at hellish speeds for 25 minutes straight. Blazing riffs to set your soul on fire impaled with non-stop solos, downright possessed drumming and gibbering demon vocals—despite its length, Deranged Hexes is nothing short of astounding . . . and terrifying.

Deranged Hexes comes out Friday October 30 from Invictus Productions. It’s our pleasure to host this exclusive premiere, another absolute garotter in the form of “Death Embalmed,” from Malicious’ forthcoming debut. 

Riku Polameri, the band’s drummer, says “[‘Death Embalmed’] is about Death itself being a prime mover in the universe, something that is not bound by the laws of physics and is therefore elusive to current understanding of man, even though it’s influence can be seen and felt all around.”

“Death Embalmed”

Deranged Hexes by Malicious

Preorder Deranged Hexes Friday October 2 from Invictus Productions. 

The post Track Premiere: Malicious – “Death Embalmed” appeared first on Decibel Magazine.


Die Kreuzen – October File

Uncontrolled Passion

Die Kreuzen’s self-titled 1984 debut was a touchstone of mid-’80s Midwest hardcore, and helped to coalesce a scene with regional outposts in Chicago, Minneapolis, Detroit and the band’s own hometown of Milwaukee. With 21 songs splayed out in under 30 minutes, Die Kreuzen delivered short, sharp shocks, punctuated by Dan Kubinski’s lacerating vocals and frantic timekeeping from the rhythm section of bassist Keith Brammer and drummer Erik Tunison. It was a powerful opening salvo, but perhaps its greatest significance was that it influenced the shape of everything else to come from Die Kreuzen, including the quartet’s kaleidoscopic follow-up October File.

By 1984, the members of Die Kreuzen were already bored with rote geometry of hardcore. October File was the sound of a band working out a more complex musical equation designed to leave you equally ill at ease. The quartet’s second album includes a few concentrated nuggets from their salad days (“Uncontrolled Passion,” “Hear and Feel,” and “Conditioned”) that are very much in the vein of the debut, but the rest of October File allows for a lot more space, at times filled with oddball time signatures and creepy effects. It was also a coming-out party of sorts for guitarist Brian Egeness, who finally got a chance to let his freak flag fly with his vertiginous guitar leads.

October File demonstrates that Die Kreuzen’s only true peers at the time were SST bands like Hüsker Dü, the Minutemen and the Meat Puppets. Well, not when it came to overall prolific-ness, but definitely in terms of musical restlessness and a desire to subvert norms. To the uninitiated listener, the sonic difference between Die Kreuzen and October File is likely as shocking as the sea change between the first two Meat Puppets albums. It didn’t sit well with fans at the time; Tunison recalls that the band returned to their van after one gig to find “You suck now” scrawled on the side, and Kubinski claims that he still gets letters from fans, decades later, who felt betrayed by October File.

But isn’t agitation the essence of punk rock? Die Kreuzen moved things forward in a big way on October File. Putting aside their hardcore roots, it’s unbelievable that the same band responsible for the downbeat gloom and doom of “Hide and Seek” is also the same band that wrote “Cool Breeze,” which kind of has a R.E.M. jangle to it. With October File, we welcome an album that influenced the likes of Soundgarden, Napalm Death and Voivod, all of whom took the spirit of Die Kreuzen and piloted unforeseen dimensions. Hats off to a magical album that sounds like nothing else. October File sounds only like Die Kreuzen.

Need more Die Kreuzen? To read the entire six-page story, featuring interviews with all members on October File, purchase the print issue from our store, or digitally via our app for iPhone/iPad or Android.

The post Die Kreuzen – October File appeared first on Decibel Magazine.