Album Premiere: Our Dying World – ‘Hymns of Blinding Darkness’

Formed in 2018, Los Angeles eulogists Our Dying World released their debut LP (Expedition) in 2019. Packed with metalcore ferocity, it was a glimpse into the planet-decimating power of the band’s upcoming sophomore album, Hymns of Blinding Darkness. Officially unleashing on June 24th, Decibel Magazine is honored to exclusively premiere the album a few days early.

The symphonic intro “Ars Moriendi” sets the grim tone even before the first roar of guitar emerges. When “Everything We Know is Gone” commences it introduces a band that has vastly expanded their sound after their debut. We’re talking a dramatic metamorphosis that heavily leans on Graham Southern for orchestral and keyboard contributions. The clean-singing and gentle segments of “Survivor” invoke the bold balladry of Wintersun and Nightwish.  Later, album closer “Veil of the Reaper” captures Children of Bodom’s scythe-swinging melodic sizzle. Engineered by Alex Crescioni at Stygian Sound, there’s a crispness to the guitar solos that allows them to soar. Hymns of Blinding Darkness is an intricate album with lofty pursuits featuring a stunning band makeover.

Hymns of Blinding Darkness has been a step into what we believe will be Our Dying World’s sound for decades to come,” the band comments. “The orchestration and ambience from Graham [Southern]. The shred and chunky rhythms from Ray [Sanchez], Nick [Loxx], and Austin [Mitrofanis]. The speed and power of the drums from Tom [Tierney]. And the agonized howls from David [Ainsworth]. Together, they create a shade of metal that is familiar, but hopefully unheard before.

“We’re striving to take melodic metal to a place where it’s yet to go,” the band continues. “We’ve written songs with speed, a folk feel, and an almost sludge-like feel, but all of those things remain creatively us. We’re trying to incorporate elements of every serious genre into an easily accessible place where fans of all genres can come together and enjoy this ever-evolving project of friendship and love for metal as a whole.

“A huge thanks to Decibel for giving us the chance to show the world what we’ve got to offer, and a warm welcome to all the fans we’ve touched along the way, old and new. We’re incredibly grateful for each and every one of you and all the positive things you’ve brought to our channels, platforms, and profiles. Here’s to the first of many!”

Venture into the darkness with Our Dying World and press play below.

Hymns Of Blinding Darkness by Our Dying World

Pre-order Hymns of Blinding Darkness on Bandcamp HERE

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Album Premiere: Gozer – ‘An Endless Static’

Originally formed in 2013, U.K. post-metal/sludge outfit Gozer has shapeshifted over the past near-decade. Band founders TJ Fairfax (drums/vocals) and Craig Paul (guitar/vocals) eventually welcomed bassist Kieran Sockett into the fray. That lineup toiled over the five tracks that comprise their upcoming record, An Endless Static. Across 47 minutes, Gozer churn their way towards catharsis. Decibel Magazine is honored to host the exclusive stream a few days before Trepanation Recordings releases An Endless Static on June 17th.

The album commences with “Into the Grey,” an opening track that patiently leads you down a corridor to darker shadows. It seethes with muted menace and graveyard poetry. While post-metal is known for cinematic songwriting, Gozer’s songs feel like widescreen compositions. The psychedelic components create worlds before the distortion levels them like an earthquake. The viola infused in “Augur” invokes the sultry doom of Giant Squid. Later, french horns guide “A Fading Light” from an ember to a flame. Like Neurosis or Cult of Luna, Gozer’s songs are pensive epics dense with emotion. By the time “Wintercearig” rumbles to its chilling conclusion, Gozer achieve a form of enlightenment.

“When we began writing what would become An Endless Static, the music seemed so much more dark and expressive than anything we’d written before as a band,” Fairfax shares. “With each of us having battled with our mental health at different stages in our lives, we saw the opportunity for it to be a cathartic experience. Then when the pandemic began, I don’t think any of us realized how much it would affect us all. We have lost some great people in the last two years, which has been heartbreaking. But it’s only amplified what this record is about and our feelings on how important music and art is to so many of us. We hope anyone who listens to this album will get something as positive from it as we did writing it.”

Cut through the static and press play on Gozer’s album below.

An Endless Static by Gozer

Pre-order Gozer’s An Endless Static from Trepanation Records HERE

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Track Premiere: Dust Prophet – “When the Axe Falls”

Fuzz rockers Dust Prophet formed in 2018 in Manchester, New Hampshire. Last year they released two singles displaying their thoughtful, varied approach to stoner metal and its adjacent subgenres. Halfway through 2022, the band shares their first single of the year as they prepare for their debut release. Don’t let the formal wear in their band photo trick you, because Dust Prophet kick up a sandstorm with their raucous riffs. Today Decibel Magazine exclusively shares their lethal new track “When the Axe Falls.”

Commencing with a martial drum beat from drummer Tyler MacPherson, the song quickly settles into an apocalyptic groove. Otto Kinzel’s voice invokes Neil Fallon of mid-discography Clutch while the band embraces psychedelic flourishes. Four minutes in, the track transcends into a contemplative segment driven by Sarah Wappler’s bass and a creative solo. Dust Prophet earn the song’s 6.5 minute run-time with a catchy chorus and dynamics that range from heavy peaks to the chiller (sky) valleys of Kyuss.

“Musically, “When the Axe Falls” is another song our bassist Sarah Wappler came up with,” comments vocalist/guitarist Otto Kinzel. “She is our primary songwriter and “Harvester of Riffs,” as we like to say. She wrote the primary riffs you hear in the verse and chorus. From there as a band, we jammed on it and fleshed out the arrangements and structure.

“Lyrically,” Kinzer continues, “the song is about the infamous Axeman of New Orleans, an unidentified serial killer from the early 1900s. He was active from 1918-19 and killed 6 people. One of his peculiarities was that he sent a letter to the local press and demanded that all the residents in NOLA needed to play jazz music loudly at night from their homes. If they did that, he wouldn’t commit any murders. Hence the line in the chorus “To Save Your Life I need to Hear the Sound I Crave.” True to his word, there were no murders that night.”

Press play below and blast it loud or succumb to the blade.

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Track Premiere: Funeral Oppression – “Just To Live”

Funeral Oppression are an atmospheric depressive black band from the closed city of Ozersk. Formed in the Chelyabinsk region of Russia’s Ural Mountains in 2015, the band released a debut album that year (The Prisoners of Life). On their upcoming sophomore record, the creative duo of Raven Black (guitars and keys) and Void (vocals) build upon their emotive black metal genre-melt. The Eternal Revival will ascend from the grave on June 13th from Satanath Records and More Hate Productions. Today, Decibel has an exclusive premiere of a riveting single from the record.

“Just To Live” commences with a blackened shoegaze sequence that crescendos with layered melodies. While the band snugly fits in depressive black metal’s custom coffin, the emotions conveyed are more complex. The guitars harmonize to project triumph and waning sunlight instead of defeat and utter darkness. At 3:45, Funeral Oppression segue to atmospheric gloom and goth-tinged vocals. Somewhere between post-black metal and post-punk, the song’s final anthemic push feels simultaneously epic and contained. At under seven minutes long, the song is more concise than any track from the band’s The Prisoners of Life debut. It’s a glimpse into the band’s upcoming The Eternal Revival, one of my most anticipated black metal records of June.

Press play below and join the cemetery procession with Funeral Oppression.

Pre-order Funeral Oppression’s The Eternal Revival HERE

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Track Premiere: Idol Throne – “Unholy Warrior”

Last year, Indiana power thrashers Idol Throne released their three-track Proof of Life demo. With a sound they lovingly refer to as “vintage-modern,” Idol Throne is a magma-hot melting pot of influences. The grit of Bay Area thrash. The guitar fireworks of ’90s shred and prog metal. The melodic inclinations of American power and trad metal. You can hear all those elements and more in Idol Throne’s first single from their upcoming debut LP, The Sibylline Age. Stormspell Records will release the album in July, but you can exclusively listen to “Unholy Warrior” here and now.

Within 30 seconds, “Unholy Warrior” nails the self-applied “vintage-modern” tag. Vocalist Jake Quintanill wails from the fray of a tough-as-nails thrash riff. Guitarists Jason Schultz and Martin Bowman fight side by side in combat, with nimble riffing packing each note with extra power. In the second half of the song they trade solos for almost a full minute while drummer Aaron Grove races the devil. There’s a sense of pure heavy metal grandeur throughout the song, concluding with a rousing sky-punching chorus. Mixed by Lukas Roth (Wildhunt) and mastered by V. Santura (Obscura, Triptykon, Dark Fortress), the album sounds as polished as a battle-ready blade. Despite the contemporary sheen, the heart of the album still beats for the golden era of thrash and traditional metal.

“We needed a definitive opening track for the album, so my goal became to write something that made an immediate musical statement about who we are as a band,” says lead guitarist Martin Bowman. “The song is fast and thrash-oriented, but at the same time has strong power metal elements and some progressive twists and turns. We feel that it’s a great introduction to what we do.”

“”Unholy Warrior” is a perfect distillation of the various elements that make up our sound,” guitarist Jason Schultz concurs. “I am super proud of how thrash-forward this song is while also being extremely melodic and guitar-centric, with a cool prog influenced instrumental section thrown in
for good measure. We feel that this is a great introduction to the band and to the various sounds that the listener can expect on the full-length release!”

Prepare for battle and press play on “Unholy Warrior” below.

Unholy Warrior by Idol Throne

Follow Stormspell Records to pre-order Idol Throne’s The Sibylline Age HERE

Follow Idol Throne on Facebook for news and updates HERE

Idol Throne photo by Kyle Bergfors


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Album Premiere: MNRVA – ‘Hollow’

Back in 2018, something sinister rumbled from the dying light of South Carolina’s fading summer. MNRVA‘s Black Sky debut was a three-track EP of morose sludge that murdered silence. The EP showed great potential with its crushing distortion and flourishes of somber melody. Almost four years later, the trio return with their full-length record of dirty-riffed dirges, Hollow. Black Doomba Records hooked up Decibel with an exclusive stream before they release the album on May 20th.

If you heard the EP, you’ll immediately recognize “Not the One.” The riff is a haunting ear-worm and a perfect intro to the record’s Sabbathian specter. “With Fire” illuminates the secret pathway from stoner doom to the heaviest realms of grunge. “Third Eye” introduces a psychedelic aura that makes that song one of the album’s few sanctuaries. That refuge is immediately demolished by the ominous opening of “Hollow.” The title track is a simmering occult stew that bubbles out of the cauldron with sly references to The VVitch.

MNRVA plunge their sound into even deeper darkness than their EP on “Befall.” The rhythm tandem of Kevin Jennings (bass) and Gina Ercolini (drums) motors the band as they traverse the album’s bleak swamplands. Meanwhile, guitarist/vocalist Byron Hawk’s riffs are towering enough to cast shadows. By the time Hollow concludes, they have re-recorded all three songs from Black Sky and added five new crushers. The final stomp of “The Way” marches you into an open grave and buries you with woodland debris. MNRVA’s stoned menace conjures comparisons to Melvins, Beastmaker, MWWB, and Electric Wizard.

Summon black skies and live deliciously by pressing play below.

Pre-order from Black Doomba Records HERE

Follow MNRVA on Facebook for news and updates HERE

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Track Premiere: Instigate – “Haruspex”

During the pandemic summer of 2020, Italian death metal hellions Instigate released their debut EP. Echoes of a Dying World was an introduction to the mix of death/grind obliteration and beatdown hardcore created by founding members Stefano Rossi Ciucci (guitars) and Riccardo Rogari (bass). Now Instigate return with a looming full-length of apocalyptic anthems. “Haruspex” is the second blood-drenched single from Unheeded Warnings of Decay, out June 24th from Everlasting Spew Records

The title “Haruspex” relates to a practice of inspecting animal entrails for religious purposes. It was accepted in several ancient civilizations as a way to confirm if the gods accepted an animal sacrifice. Some believed you could also decipher marks on the animal’s livers to determine the future. Judging by the brimstone in the voice of Stefano Borciani (Demiurgon), the only thing bright about the future will be the fires of rebellion. At 2:35, the song embraces a slam passage that could level a church. Behind the rhythms of drumming dynamo Francesco Paoli (Fleshgod Apolcalypse), the song is ferocious down to the last snarl. The song’s lyric video offers a glimpse into Instigate’s vision of sacrilege via churning death/grind.

Dive into the viscera and press play on “Haruspex” below.

Pre-order Unheeded Warnings of Decay from Everlasting Spew HERE

Follow Instigate on Facebook for news and updates HERE

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Track Premiere: Satanath – “Lethal Exekution”

Back in the first month of 2011, Aleksey Korolyov formed the dark ambient project Satanath. The next year, he launched an extreme metal label of the same name. Decibel has premiered many songs and albums by bands on his label in the decade since. The project’s sophomore album Metallized Arena was originally released as a digital-only oddity. Ten years later, Satanath Records and More Hate Productions honored the album’s anniversary with a physical release on April 27th, 2022. They added seven bonus tracks, and a killer new album cover from Sdenzil Budon. Roman Sapozhnikov from Black Dwell Records remastered the tracks in Ukraine.

Metallized Arena is an album of clashing textures. The metal implied in the album title feels abstract and fresh. Heavy bass looming behind electronic beats. Churns of dark industrial noise. Then there’s the ambient creep of shivering synths (“Third Eye’s Revenge” and throughout). In Korolyov’s band Abigorum he employs heavy distortion and elements of blackened doom. But on this album the guitars usually whispering in the distance and surrender to mechanical rhythms. The project focuses on mood and atmosphere, which makes album opener “Lethal Exekution” a perfect introduction. Consider it a post-metal deconstruction, with clanging bass and lumbering rhythms. The song marches to the track’s final notes while playing with the expectations of drone.

Satanath dedicated this reissue to the memory of Juraj Haríň (label boss of Immortal Souls Productions and Slovak Metal Army) and Den Noiser (leader of the ambient projects Omutt and Mare Desiderii).

Press play to open your mind and bury your flesh with Satanath.

Order Satanath’s Metallized Arena on Bandcamp HERE

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Album Premiere: Pyreship – ‘Light is a Barrier’

Back in 2017, Houston post-metal project Pyreship released their first album (The Liars Bend Low). It was a brooding and bruising introduction to the band’s atmospheric compositions. Each track eclipsed 6 minutes as they invoked Kylesa and the rustic doom of Rwake. Then back in 2018 we helped premiere their split album with Forming the Void. Four years have passed, and Pyreship is again ready for launch. Their sophomore record Light is a Barrier steps out of the shadows on April 22nd. Decibel Magazine is thrilled to exclusively share the album in it’s entirety a few days early on 420.

From the album’s first whisper of static, Light is a Barrier creates a vast world for the listener. It’s pensive and powerful, rewarding deep listening. Like their debut, the compositions stretch well past six minutes. “Broken Spire” foreshadows darker impulses even before the sweet poison of Jenny Jordan’s contagious chorus arrives. Steve Smith’s tireless percussion punctuates “Anathema.” The downcast slowcore pummel of “Half Light” offers time for rumination before the heavy menace of “Forest of Spears.”

Engineered by Chris Ryan and and mixed/mastered by Aidan Cunningham, Light is a Barrier is a mood journey. Because of the band’s songwriting ambitions, the album seems to unfold in widescreen. Across nearly ten minutes, closing track “Highborn” embodies the album’s central soul. Jordan’s vocals conspire with the snarls of Pyreship’s dual guitarists (Sam Waters and Cru Jordan Jones). Passages of quiet and stillness feel poignant before the eventual ground-shaking thunder of distortion. The album still ends with a bittersweet blossom of melody, escaping the album’s turbulent gray skies for bluer pastures beyond. In slightly under 40 minutes, Pyreship have created an album that feels both personal and epic in scope.

Board the Pyreship and press play below to launch.

Pre-order Light is a Barrier on Bandcamp HERE

Follow Pyreship on Facebook for news and updates HERE

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Album Premiere: Sentient Horror – ‘Rites of Gore’

New Jersey’s Sentient Horror first changed their name from Sentience back in 2016. Since that mutation they have been one of the most consistent crushers in the underground. Band mastermind and vocalist/lead guitarist Matt Moliti openly reveres old school Swedish death metal. As I wrote when premiering the band’s The Crypts Below EP: “While they’re not fuckin’ close to being a derivative worship band, Sentient Horror ain’t afraid to wear their influences loud ‘n’ proud.” There’s a colossal difference between mimicry and the way Moliti so convincingly conjures the wild blood of Stockholm circa 1992. Over thirty years might have passed since Edge of Sanity released Nothing But Death Remains. But Sentient Horror keeps that impulsive necroplasma alive on their third LP, Rites of Gore.

From the first foreboding stare of “A Faceless Corpse,” Rites of Gore has an even meaner streak than its 2019 predecessor (Morbid Realms). Sentient Horror remain devoted to Swedeath and the buzzsaw assault favored by Entombed. But this album has the stamina of a tireless predator hunting prey. When people talk about “all killer, no filler” albums they’re referencing records like this. The Stockholm stomp of “Swamp Burial” drags the listener through bogs of blood. There’s a sly rock ‘n’ roll vibe beneath the rotting flesh and cranium shards of “Splitting Skulls.” Album closer “The Eyes of Dread” nails a balance between cob-webbed atmospherics and the album’s ruthless death-sprint tempo. Sentient Horror earned their place among the most promising death metal bands of the twenty-teen decade. Rites of Gore delivers on that potential with an album that wipes the bone dust off old school death metal for a fresh take.

Sentient Horror’s Rites of Gore will be released April 22nd from Redefining Darkness and Testimony Records. Descend into chaos and succumb to your swamp burial by pressing play below.

Rites of Gore by Sentient Horror

Pre-order Sentient Horror’s Rites of Gore from Redefining Darkness HERE

Testimony Records will handle Europeans pre-orders HERE

Follow the band on Facebook for news and updates HERE

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