Split Premiere: Mausoleum and Anatomia- “Nyctophilia”

Get ready to rage, death metal maniacs- Decibel has a treat for you today. Nyctophilia is a new split from Mausoleum and Anatomia arriving on March 12 via Horror Pain Gore Death Productions. But you don’t have to wait until then to hear the entire thing, because we have it streaming here today. Mausoleum, marking 20 years as a band, has honed their sound into pure, menacing death metal terror; ideal for fans of Autopsy, Asphyx and Entombed. According to Mausoleum:

Nyctophilia was a raw, spontaneous writing endeavor with better production than anything done previously. Unlike all the others, it was completely written and recorded in the studio within a short amount of time. This is Mausoleum at its finest!”

If Mausoleum takes you to the burial site, Japan’s Anatomia just pulls you right into the dirt, slowly … and just leaves you there to rot. Here’s how they put it:

“Disgustingly heavy, abysmal horror death-doom madness by two veterans! One of the must-have splits out today!”

Mausoleum brings the explosives, Anatomia is the avalanche of mud- two forces working in tandem to produce a marriage made in the grave. Check out the split in all it’s deadly glory below, and check out the Bandcamp page for pre-order information.


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Fight Fire with Fire: ‘Scream Bloody Gore’ vs. ‘Seven Churches’

Fight Fire with Fire is an ongoing series on our site where we pit two classic genre albums against each other to definitively figure out which one is better. “But they’re both great!” you’ll say. Yes, these albums are the best of the best. But one is always better. Plus, we love these sorts of exercises, and also love watching you battle each other to the death in the comments, so how could this possibly end poorly?

Today we’re looking back at albums that were released about a year and a half apart but are still spiritual and sonic brethren, as they are both foundations of early death metal: Possessed’s Seven Churches from 1985 and Death’s Scream Bloody Gore from 1987.

With Seven Churches, Possessed took the most frantic of thrash metal and brought it to new levels of extremity, creating a game-changer album filled with wild energy and a consistently high level of boundary-pushing speed and mayhem. Then, Death took that sound and refined it with Scream Bloody Gore, making things heavier while also more mature and really paving the way for the death metal of today.

It should come as no surprise to anyone reading this that we really, really like both these albums. But we also really, really wanted to sit down with both and figure out which one is straight-up the better album. Get ready for the ultimate proto-DM showdown in today’s Fight Fire with Fire.

Possessed – Seven Churches

The early seeds of death metal were planted with Possessed’s 1985 debut Seven Churches, and what glorious seeds they are, this album absolutely a document of total chaos. It was the next step beyond thrash, and looking back on it now it’s hard to believe this came out in 1985; the heaviest of Slayer or Venom only hinted at what was on Seven Churches. Here, vocalist/bassist Jeff Becerra and his crew laid down next-level extremity.

“The Exorcist” starts this one off perfectly, those riffs haunting and just downright weird, while “Pentagram” continues with more great guitar work and frantic energy. “Burning In Hell” takes Slayer circa Hell Awaits and ramps up everything; “Evil Warriors” brings evilpunk to proto DM places but mainly is just early Teutonic thrash madness done to perfection.

The title track is Venom chaos with razor-wire thrash, while “Satan’s Curse” starts off the second half of the album with a great thrash/death tempo and atmosphere. “Twisted Minds” bops along and is almost… happy sounding for the first bit, that is until the awesome heads-down blackthrash riffing comes to save the day in what turns out to be a very accomplished piece of songwriting, one that hints at more than just all the speed all the time.

“Death Metal” ends it all off with what is basically the genre’s anthem, even if we kinda always remember the song title more than the actual song itself. But, of course, the song is awesome, another blinders-on race to the finish, the album, sure, lacking in many shades or hues, but totally killing it with absolute determination.

The production on this record is great—the songs have the rawness they deserve, and they can breathe just enough, even if it’s all one big blur. None of the playing stands out in particular, but together the members make a magnificent din, and there’s tons of great riffs here.

There’s a lot of youthful chaos on this album, which can go far, but a year and a half later, Death came along to prove that death metal was about to grow up.

Death – Scream Bloody Gore

Few bands are held in as high regard in our circles as Death. And for good reason, tons of good reasons, and they all start here, Scream Bloody Gore, the band’s quote-mark-happy 1987 debut, where Chuck Schuldiner begins the Death legacy. Seven Churches could be called the first death metal album, but Scream Bloody Gore could be called the first album that actually sounds like death metal.

“Infernal Death” opens things up expertly, the band immediately turning heads and dropping jaws with this sound, a bass-heavy mid-to-fast tempo attack that was heftier than Possessed in terms of pure heaviness but scaled back the sprint to the finish. “Zombie Ritual” mauls with this single-minded, blinders-on approach that will serve death metal well over the years, while “Denial of Life” has some groove and a brisk, almost fun feel to its gallop.

“Sacrificial” has fun double bass-led riffs and a double-time early DM stomp, while “Regurgitated Guts” shows the band’s skills at both mid-paced and frantic death. “Baptized in Blood” ups the mania with a bit of hysteria, showing the album has no interest in slowing down at this point, instead rather going faster and faster.

Scream Bloody Gore starts strong, stays strong and, yup, ends strong, with “Torn to Pieces” raging forth, “Evil Dead” being a complete classic, as well as the album’s best experimentation with a bit of melody, and the title track closing things off with one of the record’s most well-rounded songs, offering a slight glimpse into the songwriting mastery that would come on future albums.

All the playing—done almost entirely by Schuldiner, with fellow legend Chris Reifert on drums—is fantastic here, but I’ve always felt that things were a bit too stiff, and that could come down to production, the sound of which I never warmed up to (but bear in mind I’m the guy who, much to my editor’s chagrin, not that long ago criticized’s Heartwork‘s production as being too stiff, and I’m standing by that; buy me a beer and we can argue about it further).

This album has more of a focus on songs than Seven Churches does; it’s more accomplished and shows greater strides toward the advancement of death metal as a whole and as a genre to be taken seriously. But is that enough to take down Seven Churches‘ malevolent maelstrom?


Whenever I begin one of these, my mind immediately gets ahead of me and declares a winner. It’s interesting, because after living with the albums more than usual for a few weeks I often end up choosing the other album as the better of the two. Not sure what that all says about me, but I can tell you that this time around I immediately thought Death would take home the win but today our horns all point to Possessed and Seven Churches masterpiece as the champ.

With an energy to it that just can not be contained and a level of restraint that… well, no, there’s no restraint, there’s just total sonic destruction that still sounds amazing all these years later. And it still sounds fresh, and it still sounds dangerous. Seven Churches standing tall as the ultimate early-DM cornerstone, one that shall never be forgotten, its youthful chaos never getting old, its groundbreaking forward-thinking nothing but sincere, its ability to get heads banging never once wavering all these brutal years later.

The post Fight Fire with Fire: ‘Scream Bloody Gore’ vs. ‘Seven Churches’ appeared first on Decibel Magazine.




New Zealand rockers Electric Universe released the first track off their upcoming album Timeless late last month with the single “Time”, a hard-rocking number that was the perfect introduction to the band on a global scale.


Guitarist Mutt sat down with HEAVY to run us through the first single ahead of today’s release of “Right On Time”, with a number of other tunes scheduled to drop almost monthly until the May release of Timeless.

Continue reading ELECTRIC UNIVERSE Up The Anti at HEAVY Magazine – Rock, Punk, Metal Music & Beyond.


Album Stream: The Plague Can’t Stop Plague Weaver from Pushing a Satanic Agenda with Ascendant Blasphemy

Presently, were one to rummage around the basement of my elegant abode, one would likely notice the various drum kits, guitars, basses, amps, keyboards, PA set-up and other musical knick-knacks kicking around. Head on up to where my record/CD collection is on display and you’ll find the entire Rotting Christ and Celtic Frost discographies along with smatterings of Dissection and Elegy. Afterwards, I’d introduce you to the nice elderly couple living next door who, even if they weren’t already half deaf, don’t mind loud and raucous amounts of noise emerging from my side of the property line. Add all those elements together and, theoretically, I could be doing what Plague Weaver is doing. What makes this duo from Mississauga, Ontario different comes with their willingness, talent, heart, dedication, execution and laser-sighted focus to take that seed material and utilise it in the creation of evil sounding blackened metal. That, and the fact that they, y’know, actually did it.

Coming to life as a solo project of Radoslaw “RM” Murawski in 2018, the then-one-man band issued a self-titled EP in 2018 and another EP called Through the Sulphur Eyes in January of last year. With everything and everyone on lockdown, RM got to work on Plague Weaver’s next phase by drafting in vocalist JC and writing what would become the project’s debut full-length, Ascendant Blasphemy, which we’re streaming below. We’d take a shot at describing the maelstrom of Greek and Scandinavian-inspired sonic insanity the pair has captured on their first album, but when pressed for a quote, they did our job for us and summed things up quite nicely:

Ascendant Blasphemy is Plague Weaver’s first full-length release. A cold journey from start to finish, this album refines the doom-inspired atmosphere present in the previous release, Through the Sulphur Eyes while also introducing a new level of aggression. There are equal parts mid and fast-paced tracks with a couple slower, doom-ier ones near the end to close the album. The confident, riff-driven composition lays a strong foundation for powerful and diverse vocals. As a whole, Ascendant Blasphemy is a blend of black, death and doom which hopes to invigorate and distress the listener.

“Lyrically, Ascendant Blasphemy is a loose concept following a series of Satanic philosophies or inquiries, illustrated through the image of a defeated heaven being usurped by a conquering Hell. The phrase ‘Black metal ist krieg’ remains true with Ascendant Blasphemy. These songs are largely focused around Satanic empowerment of the self and the necessary war waged in the name of said empowerment.”

Ascendant Blasphemy by PlagueWeaver

Ascendant Blasphemy is officially released tomorrow (February 26th), so check out the links for more info about the band and ordering processes.



The post Album Stream: The Plague Can’t Stop Plague Weaver from Pushing a Satanic Agenda with Ascendant Blasphemy appeared first on Decibel Magazine.


Watch Members of Napalm Death, Voivod, Municipal Waste, Child Bite & Yakuza Cover Cardiacs

Unsurprising Fact: Some seriously weird shit has happened during our collective planetary quarantine (which itself sounds like an inextricable paradox), but few of those things are quite so weird as members of Napalm Death, Voivod, Municipal Waste, Child Bite, Yakuza and others joining forces to record their version of a 1987 freakazoid song by English rock band Cardiacs. In its original incarnation, “Tarred and Feathered” was hilarious and intricate and unhinged. Now, a cast of metal’s most eminent players have recorded a madcap update to the track as well as one of the most satisfyingly odd videos possible in this brave socially distanced world.

And let’s not gloss over the personnel that populates this three-minute live-action cartoon: Shawn Knight from Child Bite asked peers and friends to join him on this journey, and along the way he brought on board Dan “Chewy” Mongrain of Voivod, Dave Witte of half the bands you listen to, Shane Embury of Napalm Death, Bruce Lamont of Yakuza, Christian Doble of Faunn, Stian Carstensen of Farmers Market, the entity known as PowerDave… and Cardiacs’ actual bassist (and brother of Tim), Jim Smith. The result is fiery and confusing and brilliant.

Decibel got an early tip about the project, which is why we get to be the first to show you the video. You have to see it to believe it! We also caught up with a few of the guys to get the inside scoop on how the whole shebang fell into place. Here’s what they said.

How did you decide on “Tarred and Feathered”?

Shawn Knight: It’s my favorite song of theirs. Shane’s too; he told me later that it’s the ringtone on his phone. The original video is really amazing; everybody should go check it out immediately and then come back to watch our version! That video is what got me hooked on the band to begin with. The song itself is so compact and uniquely structured, we didn’t mess with the composition or parts. It’s a tribute to Tim Smith’s craft and legacy.

Dan “Chewy” Mongrain: I think it’s one of their most famous. They had a crazy video clip for it when it came out. It is representative of their music in general: highly energetic with twists and turns you don’t expect. It has what I call a “bipolar” quality to it, if I may. It’s pure genius, like everything they’ve written. It’s a whole world window. I knew the song for having listened to it so many times but I never played it or learned it. Also there are different versions and orchestrations, depending on the live bands they had over the years, so I decided to record different options, playing the rhythm and the melodies and harmonies. I think it was all used in the mix in the end, so that’s great! It’s always a challenge to learn a Cardiacs song; I’ve learned a lot from it.

How did everyone get involved?

Knight: The origin is simple; I wanted to do a song with Dan! I knew he was a big fan of the Cardiacs and I could imagine us pulling off our respective parts. I think I hit up Witte next; he suggested PowerDave for vibraphone and Shane for bass since he’s probably the biggest Cardiacs fan out there. Shane snagged Jim Smith from the Cardiacs for bass too, humbly demoting himself to 2nd bass. Everybody just hopped on board! The only cold call was to Stian Carstensen, this incredible accordion player from Norway. I thought he might be a long shot, but he said yes right away too! I was lucky to catch everybody on a good day I guess.

Mongrain: My good friend Shawn Knight from the amazing band Child Bite contacted me to be part of this tribute to Tim Smith (R.I.P.) and Cardiacs. Shawn is a man of integrity, I knew he would do it the right way; I just said yes right away, even before knowing who was in. I was stoked when I got the email confirming who was to be part of it. It is such an honor to pay tribute to one of my musical heroes and favorite bands with such a great gathering of artists! I know most of the guys playing on this personally – Shane, Shawn, PowerDave and Dave. We haven’t got the chance to play together, but toured together for many weeks/months on different tours. Plus I’m so grateful to have the opportunity to play with Stian and Bruce and the one and only Jim!!! I have deep respect for everyone involved to celebrate Tim’s and Cardiacs’ music.

Shane Embury (in not-so-rare sly form): A few months ago, Mr. Witte, of this band called Municipal Waste, rudely interrupted my morning snooze with an alarming text message, demanding I take part in a rather cheeky but necessary rendition of the song “Tarred and Feathered” by my favourite band Cardiacs. I am ashamed to say I wet myself (unfortunately) with excitement! After regaining composure, I rightfully insisted that Cardiacs bass player and seer Jim Smith be there to oversee my contribution and to keep me in line, should I have any ideas of my own, as was bound to happen! Fortunately, I passed the test. Jim corrected my shoddy mistakes and also added a much needed addition to our recording! We met up at a studio in Cambridge. I got to play his bass and wear his old school Cardiacs tie, so I had to sneak into the toilet for a weep of joy! Jim obviously played the song perfectly; I jumped in for the easy bits!

Jim Smith: Was well chuffed to be asked to take part by Shane and the lads and even better to hear and see the final result. Kinda got the vibe I reckon. I think we all did the boy proud, so massive thanks to all involved. I’ll have a tenner each way on the horse…

Did you all coordinate on how you would stage the video?

Knight: Everybody just did their own thing! I believe Shane mentioned early on that he was gonna track down a burgundy suit as a nod to that Cardiacs’ album cover, so a bunch of us ended up getting dolled up too. I think the two Daves were the first to shoot their bits. They used like eight cameras or something; lotsa angles! It was filmed at Ardent Craft Ales, a brewery in Richmond, [Virginia]. I’ve never been, but if they are buds with Witte then I’m sure it’s legit. [Regarding my part,] back in the fall, my wife and I moved into a little cottage up in Bellaire, Michigan, about four hours north of where we were living in Detroit. It’s one of those pandemic silver-linings; we would have never come up here if not for our day jobs becoming remote. We’re right on the lake, so I just dragged that little boat out onto the ice and voila!

Mongrain: Shawn had his idea for the final edit, but it was all done separately with not much direction, other than just trying to have a “Cardiacs ambience” so to speak. Plus, being in the lockdown and a curfew situation in a different part of the world surely narrowed the options. I chose to put on a tie (the only one I had) and a daisy pin (one of the symbols of Cardiacs) that someone gave me during a show in the U.K. when touring with Voivod. I very often wear a Cardiacs shirt onstage, and many Voivod fans know it and put their Cardiacs shirts at our shows. Then there is always this eye contact during the set, acknowledging the mutual love of Cardiacs. I had a few shirts still in good shape to display on our Voivod side stage banner/scrim, to kind of hide my ugly music room wall. That’s all I had to make it a bit better!

What else should everyone know about this song? 

Mongrain: For some reason, when I talk about Cardiacs, I always seem to hear a dog barking in the distance…I don’t know why…so annoying…What is it with that %$@?$% dog!… This band, with all the great musicians they had through the years, must be celebrated as often as possible. Tim’s music is so beautiful, rich, and so unique. It deserves to live on through our love and passion for it. This is real art: no compromise, authentic. It’s just what music is all about. Again, I’m so grateful and thankful to have had this opportunity to be part of this tribute and celebration. There is no word that can describe it. 

Embury: It’s amazing how Cardiacs have been given this extra lease of attention lately with Dave Grohl, in particular, becoming a fan, confirming what I have known for decades: that Cardiacs were and still are untouchable in musical genius! I just wish Tim was here to see it, but our leader is everywhere, I am sure, and is smiling down at us now with his ever cheeky grin! Thanks to the boys involved for letting Jim and I be a part of it.

Knight: This is one of my favorite projects that I’ve ever been a part of; recording on a song with some of my musical heroes, paying tribute to an underground icon who passed away too soon. I like to think it would’ve made Tim smile.

The post Watch Members of Napalm Death, Voivod, Municipal Waste, Child Bite & Yakuza Cover Cardiacs appeared first on Decibel Magazine.


LAGERSTEIN With Live Album


Launching their first-ever live album and Proshot Concert, Brisbane pirates Lagerstein are set to deliver a night of partying you can enjoy again and again.


In typical pirate fashion, they’ve pulled together some of the best homegrown crew, decked out the S.S. Plunderberg with 9 multi-cam HD cameras and gone sailing to The Triffid for one HELL of a party.


This live album is the culmination of a decades worth of strings, sweat and salty adventure.

Continue reading LAGERSTEIN With Live Album at HEAVY Magazine – Rock, Punk, Metal Music & Beyond.


ROB ZOMBIE Talks New Album


Rob Zombie is releasing an animated interview series titled Zombie Interviews Zombie, where Sheri Moon Zombie talks to Rob about his upcoming album The Lunar Injection Kool Aid Eclipse Conspiracy.


The first episode on the meaning behind the album title and can be viewed below:



Pre-order the physical album HERE

Continue reading ROB ZOMBIE Talks New Album at HEAVY Magazine – Rock, Punk, Metal Music & Beyond.


IN THE WHALE Set To Drop New Single


In The Whale are a unique act.


As a duo, they push sonic boundaries to the limit and deliver a relentless pounding to the senses. Their alternative, post-rock intensity and create a seismic event and shows a band not afraid to take chances.


Their upcoming single “Jeffrey” is an examination of the mental gymnastics that one will go to convince others that they are ‘just like you’, all the while their actions speak differently.

Continue reading IN THE WHALE Set To Drop New Single at HEAVY Magazine – Rock, Punk, Metal Music & Beyond.


EPICA To Drop New Album & Release Another Vlog


Dutch symphonic metal band Epica will release their new album Ωmegaon Friday, February 26, through Nuclear Blast.


The band has also released their 15th vlog, entitled “From Alpha To Omega” which can be viewed below:


Continue reading EPICA To Drop New Album & Release Another Vlog at HEAVY Magazine – Rock, Punk, Metal Music & Beyond.


CANNIBAL CORPSE With New Album & Single


On April 16 Cannibal Corpse will release their fifteenth studio album, Violence Unimagined, via Metal Blade Records.


Comprised of eleven tracks, Violence Unimagined is state of the art death metal played with passion and breathless precision, making for another flawless addition to what is inarguably one of the premier catalogues the genre has thrown up.

Continue reading CANNIBAL CORPSE With New Album & Single at HEAVY Magazine – Rock, Punk, Metal Music & Beyond.