Full Album Stream: Some Dead Bodies – Monolith

Seemingly overnight, the Houston-based death metal duo Some Dead Bodies (featuring Nobody from back porch black metal crooked king, Vide) have steadily built an imposing discography of their own brand of unconventional, unpretentious death metal punishment. Closer to something you might have heard on Razorback in the mid- to late-00s, Some Dead Bodies move around and frequently through the crowd of nowadays death metal bands with sociopathic aplomb and big, blunt and nasty riffs. 

On Monolith, their second album since their eponymous debut album from 2019, guitars are handled by one J of Houston goremongers Horoh—a decision which results in Some Dead Bodies’ second album living up to its name. A record so brutally straight-forward, yet excitingly novel, Monolith lunges from the void and reminds us what this all really about. 

According to Some Dead Bodies’ other half, Monolith “is violence and voodoo, terror and suspense, and a revenge that conquers death itself.”


Monolith by Some Dead Bodies

Get Monolith this Friday from JEMS.

The post Full Album Stream: Some Dead Bodies – Monolith appeared first on Decibel Magazine.


Track Premiere: Ruin – “Slow Degradation”

Since their (re)formation in 2015, the Californian death metal cult known as Ruin have doggedly produced a staggering amount of crushing and utterly depraved material. What other band requires an annual compilation just to keep their listeners up to date with everything they’ve released since their last compilation? When it comes to prolific, indiscriminate and senseless brutality across all relevant formats, few bands can match Ruin’s strength, vision or work ethic. 

Today it’s our pleasure to assist in ushering in the advent of the third full-length from Phelan, California’s death metal murder junkies. The title of the forthcoming album, Spread Plague Death, references the band’s Spread Plague Hell demo from 2015. Despite their relentless output, Ruin remain obstinately dedicated to their strain of death metal ultraviolence. By pairing their latest single, “Slow Degradation,” with the kinds of disturbing visuals found in the video streaming below, Ruin take their barbaric approach to a new level. 

“We are eager to share our depravity with this putrid song ‘Slow Degradation.’ It’s a sickening hymn about our usual topics: Murder, Madness and DEATH! This is the heaviest song on the album. SPREAD PLAGUE DEATH!!!!!”

“Slow Degradation”


Out August 27th on 12” vinyl, CD and cassette from Nameless Grave, Goat Throne and Nero One respectively, Spread Plague Hell promises to be one of the heaviest albums of the year. Don’t miss it!

The post Track Premiere: Ruin – “Slow Degradation” appeared first on Decibel Magazine.


Album Premiere: Decrepisy – Emetic Communion

If you’re reading this that means you’re a seasoned death metalhead, totally calloused to the subterranean horrors unleasahed regularly on this website, but an album like Emetic Communion from Portland-based quartet Decrepisy will definitely still leave a memento mori impression on your skull. Easily one of the heaviest slabs of old ways-influenced death metal to be dragged up from the bowels of the earth, the imposing, skull-crushing quality of Emetic Communion seems obvious once you learn that ex-Vastum axeman Kyle House founded the band and recruited his friends drummer Charlie Koryn, fellow guitarist Jonathan Quintana and bassist Tim Lower. Lest we obscure who and what this feature is truly about, we’ll leave the research up to you. Suffice to say if you know you know you know to expect nothing short of a cataclysmic unholy revelation. 

Formed in early 2020, Decrepisy developed their sound and methodically wrought their morbid material in the shadows amidst the global deathsurge. The result, monstrous yet agile, despondent but still extremely hostile, Emetic Communion moves and destroys at equal turns like some mad assemblage of long-gone Finnish, English and American forms. With Koryn at the throne, Emetic Communion was likely also recorded by Decrepisy’s multi-talented drummer at his The Underworld Studio. Emetic Communion hits utterly seismic. Thankfully, Decrepisy’s penchant for the past precludes an obligation to sound dated. Like the best death metal, Emetic Communion sounds bereft of time and corrupted with crawling solos like maggots feasting on the decomposition.  

According to the sickos behind it, “Emetic Communion is an exploration of genetic trauma, deformed psyche, psycho-somatic suffering, spirit made flesh, trapped in a human/animal cage of blood and bone and nervous system through which the only reprieve is decomposing form. Purity through rot.”


Out next Friday, August 6, on cassette, CD and 12” vinyl from Life After Death, Chaos Records and Seed of Doom respectively, Emetic Communion is a must-own for death metal enthusiasts. 

 Emetic Communion

Emetic Communion by Decrepisy


“Life in decay.”

The post Album Premiere: Decrepisy – Emetic Communion appeared first on Decibel Magazine.


Album Premiere: Lykhaeon – Opprobrium

Nevermind that you’ve never heard Swiss black metal duo Lykhaeon. According to the press release for Opprobrium, the album you’ll find streaming below presently, “is the first – and thus far only – release that sounds how Lykhaeon should sound.” 

Written and performed by bassist/vocalist Kerberos and guitarist/vocalist Meister T., Opprobrium violently portrays the abductions of Persephone by Hades. With atmospheric and crushing black metal that draws power from doom and death, Lykhaeon present this Greek myth with ire and blood anew. With these seven tracks, encompassing ritual and destruction alike,  Lykhaeon stamp their mark on the face of black metal history. 

Opprobrium is a milestone for us, and one we are quite pleased with. It is certainly the first and thus far only record that sounds how we have envisioned Lykhaeon to sound since the project’s inception in 2014. Further, on this record we managed to achieve several new artistic and conceptual goals, musically as well as lyrically, and we feel the results speak for themselves.”



Opprobrium by Lykhaeon

Preorder Opprobrium from Repose Records. 

The post Album Premiere: Lykhaeon – Opprobrium appeared first on Decibel Magazine.


Mandatory Reissue: Necrony – Pathological Performances

Necrony formed in 1990 as a three-piece, but by the time the Swedish deathgrinding pioneers recorded their debut full-length album, Pathological Performances, they were but two men: drummer/vocalist Rickard Alriksson and guitarist/vocalist Anders Jakobson. Around the same time, Alriksson and Jakobson formed Nasum with the late Mieszko Talarczyk. Perhaps it was Nasum’s success that led to Pathological Performances falling through the proverbial cracks, but recently a stateside label has taken it upon themselves to do their part in rescuing Necrony’s debut from eternal obscurity.

With Pathological Performances soon coming up out once again on tape from Gurgling Gore, we caught up with Anders Jakobson to get some deeper context into Necrony and the forthcoming reissue of their debut album.

Pathological Perfomances

Pathological Performances by NECRONY


Pathological Performances was first released nearly 30 years ago. How does it make you feel that the record is still sick and relevant enough to demand a repress from a new, up and coming death metal label?
First of all, it makes me feel fucking old… 30 years? Ouch! I am slightly reluctant to speak about the Necrony stuff with pride, because for me it’s very juvenile stuff that doesn’t really match the stuff that actually were good that our colleges from that time did back then. I have understood that there is some kind of cult thing going on for Necrony, and that has always surprised me. That said, a repress of the album could have been done easily 10-15 years ago, judging from all the requests that has come my way during the years. More about that later. But how does it make me feel? Well, a little bit weird, but I am excited about this very specific reissue.

What do you remember about recording Pathological Performances
I remember that it was recorded and mixed over two weekends, Friday to Sunday and Friday to Sunday. Six days is a very short time for an album these days, but I guess we knew our stuff well going into Gorysound. I can’t remember that we felt any stress during the last days, so I guess everything went smoothly. Have in mind that 30 years have passed – I can’t remember everything! I do remember that we invited Johan Liiva (then Axelsson) from Carnage/Furbowl for some guest vocals. That’s the only time we have met. That was great. 

You’ve since played for numerous sick bands. How does Pathological Performances sound to you now?
Working on this reissue has made me rediscover the album and it brought back a lot of memories. Almost all recordings I have done, no matter which band, is closely connected to the time of the recording, who I was at that time and what was going on in general. I was 19-20 years old when we worked on the songs for the album, and Rickard was two years younger. I remember sitting in my room in my parents’ house writing these long and intricate “pathological” lyrics with words I can’t understand today (and loads of incorrect English, obviously), or late nights in the garage strumming lightly on my acoustic guitar not to wake my parents. And obviously hours of rehearsals, just Rickard and I. And I remember borrowing a very early Apple laptop from Rickard’s father and creating parts of the booklet layout – something that led to what is part of my profession these days. All that comes back to me when I hear the album. In that sense, the album is very important to me. With my modern ears, I really wish that I could go back in time and teach myself a thing or two about how to write, arrange and perform songs, because there are some serious quality issues… Bits and pieces are cool, but you know, it’s a tough listen at times…

What songs hold up as favorites?
I would say that “Gynopathological Excav-eater” (now, that’s a title for a business card!) probably is the best song. It’s one of the few that Rickard wrote, more or less on his own, and it has a really cool drive and great riffs. Rickard had more talent writing stuff that actually sounded like songs, compared to the riff collections that I put together that sometimes lacked some kind of common vision. But there are many parts of the album that I like and when I look at all the songs, I feel that they are quite different from each other, which is good. But “Gynopathological Excav-eater” is probably the best and with the slightly re-arranged song order on this release (which has to do with creating a side A and side B that basically had the same lengths), it opens up side B as a real kick in the nuts. Good stuff!

How did the deal with Gurgling Gore come about anyway? How did it feel to be approached by the American label?
As I mentioned earlier, I have been approached by several labels during the years that [have] expressed their wishes to do everything from album reissues to complete discography releases. I get a few of these requests every year, but we have always said “Thanks, but no thanks”. Partly because we don’t feel especially proud of the old stuff, and partly because some things should perhaps stay underground. There’s been so many of these reissues and discography releases of more or less every fucking band that did something in the 90’s. Do we really need everything? So, when Ryan contacted me, I had my “thanks, but no thanks” lined up. However, the format he suggested was a limited edition cassette and that intrigued me. I could immediately tell that Ryan was a true fan of the album and that helped with the decision. I had a brief talk with Rickard and we agreed that it was true to the release to do a cassette reissue in a limited edition. Ryan was upfront with that he really wanted a “clean” reissue, not remixed or remastered with additional tunes and so on. I like that and I also liked reverse-engineering the original CD layout and create a cassette version that really matched the original release. It was a lot of fun working with this and I was very excited every time I found a new email from Ryan in my inbox. He always wrote “more” than just the usual stuff and that made me think of all the letter writing that went on during the time of the CD. It was a few years before the Internet and those who were in the scene then wrote a ton of letters and got a full mailbox every day. It was exciting times, and I was happy to relive that sensation working on this release. So, I am quite happy that the “thanks, but no thanks” turned into “yes, why the fuck not?”!

What about the other reissues of this album? Why are they considered as ‘unofficial,’ according to Metal-Archives?
To begin with, I am very doubtful that it is Poserslaughter who actually released the bootleg LP. I believe it’s some unknown “label” that prefer to keep their identity hidden as the artwork is scanned from the CD, including the Poserslaughter logo, catalogue number of the CD and their old address. Actually, I bought a copy of the bootleg a few months back because I wanted it, and there are no clues who actually released it. It looks kind of cool, but at the same time it’s something of a hack with multiple spelling errors and such. I have seen a lot of bootleg Necrony stuff and it’s slightly annoying. On one hand, it’s in line with the underground approach I want for the stuff, but on the other hand I am disturbed by the low quality of the products.  Poserslaughter did release a reissue of sorts in 2005, the “Poserslaughter Classics Remasters”, that collects a lot of stuff in 99 minutes – on one CD, which should be impossible… This isn’t fully authorized by us. I remember getting an email from the label letting me know that a reissue was coming (“to fight of bootleggers”) and that seemed fine, but I didn’t expect the CD to include a lot of other stuff, including just parts of the first demo, which they didn’t have the rights to include. So, that one was really disappointing. 

Any message for a new generation of death metal fiends who may be hearing this album for the first time? And what about those diehards who will remember you from the early ’90s. Any message to them?
New kids: Don’t judge us old farts too hard! Even though this might be hilariously bad, we helped to pave the way! Get inspired and create sickness! And for the old fans, I hope the tape might bring back a lot of memories of the 90’s underground scene and what went on then. Dig in your attics or basements for old tapes and fanzines! 

Finally, does this mean Necrony is back? Would you ever consider a reunion?
No, this is not a comeback. I can confess that I have thought from time to time that it would be fun do a few songs but I don’t know if I can write in this style anymore. It requires a certain mindset for sure. We did a brief “reunion” back in 2001 when we recorded “Pungent Excruciation” for the Carcass tribute “Requiems of Revulsion” that Deathvomit put out. They originally wanted to lift a track from our 1994 cover MCD “Necronycism: Distorting the Originals” but we wanted to do a new recording. The funny this is that the line-up was flipped this time, which means that Rickard and I both have played every instrument in Necrony! Anyway, that “reunion” lasted two days – one in the rehearsal room, the other in the studio… Guess that was it.

Preorder Pathological Performances on pro-tape from Gurgling Gore Friday June 4.

The post Mandatory Reissue: Necrony – Pathological Performances appeared first on Decibel Magazine.


Album Premiere: Sněť – Mokvání V Okovech

Right away Mokvání V Okovech, the debut full-length from Prague-based torturers Sněť, makes good on the foreboding promise of their demo from 2019. Now the quintet have returned with eight all-new tracks of their own devastating blend of subterranean and monstrous death metal. Topped off by one of the sickest cover arts we’ll see this year in death metal, Mokvání V Okovech (‘Soaking in Shackles’ according to Google’s translation) is nearly 30 minutes of old school rotten death metal played by callused and utterly detached psychopaths of the modern era.

Out this Friday on vinyl and CD from Blood Harvest and coming soon on cassette from Headsplit and Lycanthropic Chants (Europe), Mokvání V Okovech is a hostile and highly mandatory debut from one of this sickest new names in the death metal underground. Don’t miss it!

Mokvání V Okovech

Mokvání V Okovech by SNĚŤ

Support Sněť via Bandcamp

The post Album Premiere: Sněť – Mokvání V Okovech appeared first on Decibel Magazine.


Full EP Premiere: Coscradh – Mesradh Machae

Although they formed over a half-decade ago, these black/death Dubliners move at their own mysterious pace. Like some beast of folklore, Coscradh’s slayings are sporadic, but terribly feared and always discussed far and wide long after they’ve occured. The day has yet to come when these words will stop short of that mighty, snarling beast in its full-blown full-length glory, but there is good news yet. Not yet an album, but on Friday May 7, Coscradh will released two new songs in the form of a 7”—the latter, as you’ll read below, is a demo track from their forthcoming LP.

“On a one-day session in August 2020, Coscradh recorded a pre-production demo in preparation for the debut album and returned with a result so hideous that it would have been too merciful not to release a selected duo on 7”,” the band told us back in March. “‘Mesradh Machae’ is an old Gaelic term for ‘Heads of the men who have been slaughtered,’ in reference to the Celtic cult of the severed head and the reverence of such effigies in early Irish society. Accompanied by ‘Plagues of Knowth,’ an early demo version of a song that will be on the first full-length, an account of what could possibly have been one of the first plagues to hit the land.”


Out this Friday on 7” vinyl from Invictus Productions, this is . . .

Mesradh Machae 

Mesradh Machae by Coscradh


Invictus Productions

The post Full EP Premiere: Coscradh – Mesradh Machae appeared first on Decibel Magazine.


Video Premiere: enditall – “give me nothing”

Earlier this year we streamed the debut album from North Dakota-based post-metallers enditall, and caught up wih their frontman Zander Ness, formerly of the black metal band Høst. enditall’s debut album, never feel again, represents a clear departure from extreme metal, but the same genius that made Høst so sick now goes into making enditall so heavy.

Today we’re privileged to premiere a video for the latest single from never feel again. Filmed and edited by Kowala Media, the video for “give me nothing” is an unflinching look behind the scenes of the passion that fuels enditall. Existential, depressing and painfully familiar, the juxtaposition between the mundane struggle and sublime release of playing in a band hits extremely close to the heart. This same earnest beauty is what makes enditall’s music so triumphant and immediately enjoyable. 

According to Zander: “we wanted to create imagery that would represent the content of enditall as directly and honestly as possible; issues with depression, discontent and substance abuse have all contributed to the music.”


Get never feel again on CD-r and 12” vinyl directly from enditall.

The post Video Premiere: enditall – “give me nothing” appeared first on Decibel Magazine.


Autopsy’s Mental Funeral turns 30!

30 years ago today, Autopsy changed extreme music forever with the release of their sophomore album, Mental Funeral. Two years after the release of their debut album, in 1991, the Oakland, California-based quartet became living legends of the burgeoning death metal underground with the release of Mental Funeral. Three decades later, Mental Funeral remains one of the most influential albums in the history of death metal. 

Since we can’t join the members of Autopsy today to celebrate the anniversary, we caught up with founding drummer/frontman Chris Reifert to wish his second-oldest deformity happy birthday. We snuck in a few interview questions, too. 


Mental Funeral by Autopsy


Okay, Chris, so TO years ago you, Eric Cutler, Danny Coralles and Eric’s brother released one of the most important albums in the history of extreme music. What do you remember about the band at the time, back in the transition from the ’80s to the ’90s when Mental Funeral was coming together?

It’s still hard to believe it’s been that long. Jeez! As for the band, we just wanted to sound as heavy as we possibly could. With a sprinkling of weird thrown in for good measure. We’d also done two European tours by then so we were feeling fairly comfortable with ourselves. 


What do you remember thinking of the metal scene, and how did you want Autopsy’s second album to impact it?

The scene was pretty exciting as there were new sounds flooding in from all over the world. Demos, albums, all that good stuff. 

I don’t think we cared too much about how we’d fit in with it all though. We were just busy being stoners who wanted to play metal and not think too deeply beyond what happened outside of the rehearsal room or studio. We were very much a ‘make it up as you go along’ sort of band with no grand vision for the future. Some things never change. 


What do you remember most about recording Mental Funeral

We were stoked to be back at Different Fur Studios, I know that. The Residents did a lot of stuff there which provided quite a bit of allure. We had a bit more time than we did on Severed, so there’s that too. And the drinking was definitely heavier on that one. Bourbon entered the picture during recording instead of just a couple of beers like on Severed. We also had a bunch of friends hanging out so it had a party atmosphere, which is odd because Mental Funeral does NOT sound like a party. Haha! There were 18 of us there or something. I know we loved the starting tones and barely even mixed it. So we did all things we were not supposed to do while making a record it seems. 


What about your sophomore album makes you the proudest?

Mostly that it’s passed the test of time. We’re still seeing new tattoos of it and stuff, which is nuts. 


Looking back, what were some things that Autopsy learned on this album that have continued to influence the way you write death metal today?

Nothing jumps out in that department. We’ve always tried to just sound like ourselves and leave it at that, although subtle little influences have wormed their way into our songs here and there. Nothing too obvious though, hopefully. 

How does Mental Funeral sound to you today? How has your opinion of it changed over the past 30 years?


It’s like an old pair of shoes at this point. You know exactly how they’re going to feel when you put them on and nothing really changes. I mean that in the best possible way of course. I don’t really listen to it for fun these days because I’ve heard it a zillion times but I’m still very proud of it and I’m glad people still dig it three decades later. 


You’ve played a lot of these songs live hundreds of times by now. Which songs still get you fired up? 

We’ve opened shows with Twisted Mass tons of times and that’s usually a cool starter. Beyond that, pretty much everything we play gets us fired up which is how it ought to be. 


What’s surprised you the most about Autopsy’s career?

The fact that we’re still doing it today is something we never would have envisioned as teenagers getting it started. That’s a wild thought. Probably the biggest surprise though was the reception we got upon reforming. It was a mind-blower for us. 


What are Autopsy up to lately? 

Waiting out the plague storm like most other bands. We’re getting close to being fully vaccinated and then we can actually get together and turn the amps and shit back on. We haven’t done anything since playing Chicago last March but at least we got a live album out of that one. 


Sounds like new material from the most consistnent band in death metal is on the horizon—another cause for celebration! In the meantime, pick up and read Chris Dick’s incredible (and incredibly somehow still in-print) Mental Funeral Hall of Fame for some deeper context into this landmark masterpiece. And buy every Autopsy record you can get yours hand on because they’re all mandatory. See you next year for Acts of the Unspeakable’s 30th birthday!

The post Autopsy’s Mental Funeral turns 30! appeared first on Decibel Magazine.


Track Premiere: Human Failure – “Your Hope is a Noose”

Human Failure is D. Cornejo, the solo artist behind numerous modern-day underground slaughterers, including Akasha and Dekagram, just to name a few. But Human Failure may be his most menacing project yet, in which the solo artist gives hellish vent to his deepest rage. Out next month from stateside terrorizers Caligari and Sentient Ruin on cassette tape and 10” respectively, Human Failure’s debut full-length Crown on the Head of a King of Mud is just one explosion after the other as harsh-noise, hardcore punk and utterly detached death metal brawl for dominance. However novel, Human Failure’s relentless approach is anything but refreshing. It’s horrifying. 

According to Cornejo: “Failure is a project intended to be as brash and primitive as possible, with writing and recording sessions taking place in the exact same moment. Drums are recorded on the fly, guitar riffs are pieced together over the top in a haphazard manner and lastly noise is layered on top of it all in order to seal it all together sonically. Lyrics on this record were truly a minor concern of mine. I knew what each song represented, but having well-written and well-paced lyrics was not something that I deemed necessary. Instead, I focused on a phrase or two and repeated them ad nauseam so that the vocal performance on the demo is less of a recitation of poetry and more of an unfiltered and pure release of pent up anger, hate and dissatisfaction with the world around me. The phrases for this song explain [its] purpose more efficiently than I could: ‘We cannot be saved,’ ‘Your hope is your noose’ and lastly ‘This is not the truth,’ referring to the paranoia of not being able to trust your own mind and not knowing what’s real, if anything.”

Get the cassette tape from Caligari Records

Get the 10” vinyl from Sentient Ruin

Human Failure Bandcamp

The post Track Premiere: Human Failure – “Your Hope is a Noose” appeared first on Decibel Magazine.