“‘Vilemaker’ is the most recent song we’ve written. There was a lot of deliberation on the structure and placement of certain parts, but it came together in a very satisfying way. It’s also the first song Darian (Mazloomi) has written lyrics for,” says drummer Nicolas Landry.
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According to Landry, fans can expect a noticeable evolution in the band’s songwriting and sonic identity. The new material is raw, dynamic, and intentionally less polished than much of today’s hyper‑produced metal, without sacrificing clarity or tone.
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​“We’ve really strived for a rawer sound this time around … This is some of our most dynamic music thus far, and we wanted the production to reflect that.”
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Lyrically, the upcoming releases lean heavily into nihilism, frustration, and societal disillusionment, each song telling its own story through vivid imagery and shifting points of view.
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Truent will release a limited but steady stream of singles throughout 2026 ahead of a future full release. 

Follow the band here. 

The post Video Premiere: Truent – “Vilemaker” appeared first on Decibel Magazine.

Says the band about their newest work: “The Murder Trend is a full-scale concept album that descends into abuse, trauma, revenge and inherited madness. Told as a chronological horror narrative, the album follows Anton, a boy broken by systemic cruelty, whose life spirals from neglect and violence into ritualized murder in a circus set and cult indoctrination. What begins as social tragedy evolves into something far more grotesque: a generational curse embodied through masks and a carnival of death. Musically, the album moves between cinematic instrumentals, relentless extreme metal, crazy combinations of different styles, and theatrical passages that underline the story’s psychological collapse. It’s groovy, it’s progressive, violent as hell and yet brings a twisted smile on your face when you listen to it. Lyrically uncompromising and narratively explicit, The Murder Trend presents a bleak reflection on how victims can become monsters—and how in the modern world violent trends can spread like a contagion once given a symbol to wear.”

Photos by Rocktografia.

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The post Album Premiere: Crazy Does it With Agarwaen’s <em>The Murder Trend</em> appeared first on Decibel Magazine.

Featuring scene veterans from Kill the Client, Gridlink, Cleric and PLF, Triage pull no punches on their lean and mean 16-track sophomore effort. No atmospheric interludes, no unnecessary detours, no bullshit. Just pure unfiltered aggression and grindcore at its most potent.

Decibel is proud to present In The Trenches in its entirety below:

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“This new album is our declaration of war on the system and the current establishment that is ruining lives and marching us towards a fascist state,” the band shared with Decibel. “It’s a statement and a road map to resistance in the form of a battle cry. Resistance and grind are forever.”

Triage has come back swinging, and not a moment too soon. For grind purists, In The Trenches stands as one of 2026’s strongest arguments for the genre’s continued power. For Triage, it’s a battle cry against a broken world.

In The Trenches is out June 26 via Roman Numeral Records. Pre-orders are available now through Roman Numerals’ webshop and Bandcamp.

The post Album Stream: Triage – <i>In the Trenches</i> appeared first on Decibel Magazine.

The Forever Silent was produced by Freek van Rooyen (Gavran) and mixed by Marius Prins (Throwing Bricks), while mastering was handled by Alan Douches. It’s set for release via Shadow of Sorrow Records on July 24. Place your preorder here.

Kobić had this to say about the new track:

“This song is about the pyramid-shaped mountains found in a small town in Bosnia over a decade ago. Where an ancient civilization might have lived that had built these structures to come into contact with aliens or maybe even supernatural forces. Although this is heavily disputed, obviously it’s a great story to tell in a song like this.”

The post Track Premiere: Svjetlost – “Above the Mountain” appeared first on Decibel Magazine.

Hot off the release of their new single, “Cheat Death,” Whelan jumped on a Zoom call with Decibel to talk about working with Weinberg, why he enjoys working with an independent label and the power of a positive mental attitude in 2026. The Ringing Bell is out on July 17 via Triple B Records and it’s up for pre-order.

The most noticeable change for a lot of people is that Jay Weinberg is drumming on this record. How did you guys connect with him? Have you known him from before Slipknot or did it come later on? 

I reached out to him through his website. It was later on. I seriously just emailed him and I didn’t hear back for a few days and I got a text message and I was like, “Oh, that’s Jay!” I looked in my email spam folder and his response was there. I almost missed it and if he didnt’ text me, there’s a good chance he wouldn’t have played drums on the record. 

I think it came out really well. He really fits with the band despite some of the stuff he’s known for being Suicidal Tendencies or Slipknot. 

That’s the thing. We know of each other—he knew of Fuming Mouth well before I ever reached out to him and I obviously knew of him. I’m trying to trace it back. It has to be Madball, just from my love of hardcore. That’s like 16 years we’ve known each other, been in the same circles. He’s toured with a lot of my friends and all that kind of stuff. We have the same exact vernacular for music and a love for a lot of the same death metal, a love for a lot of the same hardcore, a love for a lot of the same punk. It was just seamless. 

Did you have music written you sent to him or was it more collaborative? 

I started writing right after the last record because I knew the direction I wanted to go with this one. I wrote out the drums in midi and when I brought it to him, he just took it and made everything better. Once it got brought to him, that’s when it actually became very collaborative and the songs changed a lot. It was a two-part thing. I wrote it and it was re-worked, re-written. 

Since he has the same vernacular in hardcore and death metal, it sounds like it was a pretty natural fit. 

Yes. For example, I remember emailing him for the song “Self-Exhumed” and being like, “This is the demo I have, but I want to go for something between Motörhead ‘Stay Clean’ and Entombed ‘Eyemaster’ and he said ‘I love those songs.'” 

It was boom, immediate. He knew what he was doing. 

How long would you say you were working on this album? Did you start right away with it? 

I started working on it right after we recorded the last one. I’ve been chipping away at it. I would say 2025 is when I had one big session, a ton of songs, tons of riffs. 2025 is when everything really got nailed down with Jay. It’s hard to say exactly but I really mean it: within a week of finishing Last Day of Sun, I started working on this record. 

It seems like on this one it goes back to what people associate with the older Fuming Mouth stuff. A little heavier, a little more focused on the crust and hardcore side of things. Was that an active decision you guys made or did that develop as you were writing? 

When I listen to Sepultura, something off of Arise, something like “Dead Embryonic Cells”—there’s that riff that goes [mimics “Dead Embryonic Cells” riff].  I was just listening to it when we were touring with Suffocation in Europe and everyone was moshing and super fucked up, but I was chilling and listening to it. I was like “Is this a breakdown or a riff? Because I don’t even know if people called riffs breakdowns. I don’t know if this would be considered a breakdown,” and I just started thinking about our music differently. I just kept hearing stuff like that, like a Slayer part and you hear it kind of broken up. I just started thinking about riffs differently and how simple they can be. That realization is new territory for Fuming Mouth. We’ve never, ever had a china cymbal on a song. I don’t think we’ve ever had positive lyrics in a song. 

When you were writing it, did you actively want it to be a more positive record? 

Yes. 100% yes. Zero discussion, conscious [decision of] “This is going to be a positive record.”

Is that because things have been going well for the band and your personal life has been a little more stable the last few years, with the illness being further in the past? Or was there a different logic?

I don’t know if there was so much of a logic as much as it’s things were just really scary, whether it was me being sick or friends dying, overdosing, taking their life, things like that. It just became overwhelming. It felt right for the theme to be being positive moving forward as opposed to this cathartic thing. I’m not saying anything bad about negative lyrics; I think it’s extremely important in music. We know I’ve done that with Fuming Mouth for over a decade but it’s not like that anymore. It’s about moving forward and being positive. 

I think everyone in the world can really agree it’s been a really long five or six years since Covid. The stuff that was dark before is so much darker now. You need something that isn’t just constantly fixating [on darkness] these days. 

That’s why I was hesitating before, because it’s not just about me being sick. This is an everyone thing. That’s why I say friends passing away. I feel like it pertains to everyone. I’m really trying to push and encourage this message of moving forward, being strong, believing in yourself, not being negative. 

Would you say that’s where the album title comes from too? Ringing the bell, moving toward the next part of life out of a negative period? 

Yes. There’s a finality to it but it is death metal that we play. There’s a yin and yang. A bell can be funeral bell, it can be a wedding bell. How do you look at the world? The title and the message, it’s very much “What’s your perspective?” 

The record is on Triple B this time. Do you prefer to work with a smaller label? Do you think that provides more intention? 

We did one EP and one LP with Nuclear Blast and completed the contract. Triple B is just a cooler label. It just made more sense. 

For a lot of bands that play death metal and hardcore, stuff that’s more underground or heavier-focused, it’s really easy to get swept up on a larger label, not even as a fault of the label. 

Yeah. Nuclear Blast is different. They’re very focused on artists like Marilyn Manson now…. it’s widespread to everyone now. I’m really excited. A lot of it is done independently, which feels really hard. Sam [Yarmuth, owner] is totally supporting us and I’m really proud of the record. 

You’ve been working with Kurt Ballou since 2019. For you guys, what does working with Kurt add to the music? Do the songs like they did when you came into the studio? 

I did not let him touch it at all. He said that’s why he likes working with me. I don’t need a producer, in his words. I need an engineer. I like recording and stuff, but when it comes to setting up mics and the proper distances across a drum kit, that’s not my expertise. When it comes to mixing, I have way too many crazy ideas and he’s really good at grounding me. I’m really proud of mixing this one all by myself. 

It feels very direct and focused. Now that the album is done and you’re able to look back on it, are there songs that stand out the most to you or things that you’re especially proud of? 

I’m proud of the whole entire record. I’m proud of every single song. I really mean it. I can’t wait to play every single song. I wish there was one singular thing I was the most proud of but every song got the same amount of love. Each one got the proper amount of work. “Barbarian Scourge,” the second-to-last song on the record feels particularly good to me. 

Everything you’ve said sounds like it’s a big step forward for the band. 

It really is that simple. It’s awesome.

The post Interview: Fuming Mouth Frontman Mark Whelan Talks New Record, Jay Weinberg and Positive Attitudes appeared first on Decibel Magazine.

Extreme music – like the grindcore which Harris proudly champions to this day – has always thrived on a DIY ethos. Bands book their own shows, sleep on floors, pile into vans and drive uncomfortably long distances for the chance to connect with fans over a shared love of music. It’s a culture built on passion and perseverance. But according to Harris, it’s also one that continues to operate within a system that leaves many artists fighting just to break even.

After spending decades navigating the realities of the touring circuit, Harris decided to do something about it. Enter TourFlip, a platform designed to connect artists, promoters, venues, festivals, freelancers and fans in a way that removes some of the hurdles that have frustrated independent musicians for decades.

Long before Napalm Death became grindcore icons, Harris learned a tough lesson on what success on the road really means.

“Our first headlining tour in the U.S. was basically young adolescent ignorance, right? You have a manager who doesn’t really know the music or the industry. He’s just there trying to pull things together. Sends you on a tour to America in a bus, and he brings a crew. So he sends a lighting guy, a monitor guy, a sound guy, a tour manager … but at the end of the tour, when you look at it, and you say, ‘um, wow, we did a lot of merch in L.A., cool.’ And at the end of the tour, there is no money after two months of just nonstop. I mean, it’s fun obviously because you’re supposedly living the dream, but when you realize, well, if you break it down, the cost of the bus. I thought it was $350 a day? No, that plus gas, plus oil changes, plus tolls, plus the driver’s room every day, $125 and the taxi there and blah, blah, blah.”

For Harris, who stepped away from touring in 2014 and is still a member of Napalm Death, the specifics of the touring system may have changed, but the underlying problems remain.

“It was broken then, and it still is. I mean, you see bands at (Napalm Death’s) level, whatever, that, if they’re not sharing a bus, and obviously it’s nice to have a comfortable bus, but you try to do it in a van, and you’re basically at each other’s throats.”

The harsh reality for the life of a touring musician is cruel, cold and blunt. Fuel costs have risen. Ditto for accommodations. Merchandise production has ballooned, with venues struggling to stay afloat while combating increased overhead. Fans have been gouged at every turn with increased ticket prices riddled with hidden fees. All the while, the artists are expected to maintain a constant online presence to boost their public profile, while spending more time on the road than ever before.

That reality reads that, in 2026, touring has become both the primary source of income and the greatest financial risk for artists both big and small.

For Harris and TourFlip, the name of the game is opportunity. Independent artists often leave money – and audiences – on the table because the current system fails to connect the people who need one another. Tours are routinely routed through traditional industry channels that overlook smaller markets, emerging artists and opportunities that don’t immediately fit established business models.

“Really, you can look at the numbers, and you’re breaking even on those shows, maybe. You’re hoping to make something on merch. You can never guarantee what it is. You’d better have some good new designs. So what do you do, really? You fill shows on days where you could have been driving 18 hours, you do a few shows in smaller cities like Chattanooga, TN, and realize that they’re great too, because nobody plays there.”

Rather than functioning solely as a booking tool, TourFlip serves as a catch-all, creating direct connections with artists, venues, promoters, festivals, fans and freelancers. Users can build profiles, discover opportunities, create events, communicate directly and forge relationships, avoiding traditional gatekeepers and middlemen.

“It’s about creating opportunities, really,” says Harris. “And the ecosystem is an important thing.”

The platform has been in development for eight years, shaped by conversations between Harris and musicians, promoters, venues and industry veterans who have encountered many of the same frustrations.

“The response has been very positive from long-time friends and industry peers,” Harris says with conviction. “There’s been a need for something like this that provides tools to empower artists, fans and the freelance economy with an engagement layer that enables users to customize their culture. It’s very much a community-driven experience that will take time to onboard users. First-year goals are to make sure it works efficiently and intuitively, is easy to use, creates opportunity, increases profitability, and enables more control for each use type.”

But what can TourFlip do that other similar platforms can’t? Artists already maintain profiles on multiple social networks, connecting instantly to their fans like never before. Event listings, ticketing networks and booking outlets already exist. Yet, Harris argues that none of these are built specifically to aid the music community in conducting meaningful business while strengthening direct relationships.

“Being free to join seems a no-brainer for me, to imagine bands making a profile. We seriously need promoters, talent buyers, festivals and especially venues to take advantage of direct contact, simplicity for offers, and deal flows with a music-driven, social media-driven place for music enthusiasts to connect with unlimited friends, follow bands, and have a voice,” he says.

“It’s based on underground DIY philosophy, where word of mouth is really a powerful thing. If we could reach 10,000 users, it’d be an achievement; 100,000 users, a miracle. Then again, the average artist’s Facebook profile followers have well over 250k, with no transaction tools, think about that.”

That do-it-yourself philosophy has been the backbone of Harris’s life and career, and serves as an undercurrent for grindcore and extreme metal as a whole. Long before TikTok, YouTube and the Social Revolution, underground music relied on direct communication, personal relationships and grassroots promotion. Harris views TourFlip as an extension of those principles, rather than a replacement.

“My dream really is that it creates ways for bands to customize this tool to make operations more efficient, engage directly with the creative and freelance economy, make fans feel a part of the journey and have promoters and venues maximize outreach with direct contact instead of offers to agencies and managers that don’t meet their gross profit agenda,” he says. “Years fly by, it’s a vicious routine, I wish I’d had more control over how the operation was run, because besides survival, it really is the better years of your life. Make it count.”

That perspective may ultimately explain why TourFlip exists at all. Harris isn’t a tired musician looking for a new venture, but one looking back at decades spent inside a system and asking whether the next generation can be given a better chance.

“Simple point, if you’re in a band, you know how hard it is in this global challenged economy. Venues suffer the same rising costs of making shows. Fans eat those costs on the ticket price, paying for less, stripped-down tours and production, trying to make ends meet. We can’t let it self-implode like recorded music lost its value,” says Harris.

“Touring really is the main source of income for bands, with an opportunity to sell merchandise. Everyone plays a part in sustaining our community. Beyond legacy bands already established, one core goal is to create opportunities for new/undiscovered bands to play outside their hometowns, playing new cities, connecting and creating new fans. It really could become a machine that creates sustainable growth on all levels for the independent community, creating experiences for everyone involved.”

TourFlip officially launches on July 4, marking the culmination of nearly a decade of development and a lifetime spent navigating the harsh realities of touring.

Whether it ultimately reshapes the live music landscape remains to be seen. But Harris believes the conversation itself is overdue.

“Make an account, contribute to the growth, help the scene thrive and support the art of creativity on so many levels,” he says, impassioned. “Let’s share the voice that sends shockwaves towards correcting broken systems for current and future generations.”

Visit tourflip.com for more information

The post Former Napalm Death Guitarist Mitch Harris Thinks Touring Is Broken. TourFlip Is His Solution appeared first on Decibel Magazine.

Following 2025 debut Klaagrituelen, Bacht’n de Vulle Moane return with Verdwazing Der Dwazen, a six-track second album due September 1 via Into Endless Chaos Records and De Pankraker. The labels call it “abrasive, stark and bleak motorics,” which is accurate enough, provided you understand that “motorics” here means less sleek repetition and more getting dragged behind a machine that has developed religious trauma.

Today, Decibel is premiering “Verdwazing Der Dwazen (Min Erte Bloedt),” the album’s third track and apparent midpoint rupture. It combines the feral scrape of black metal with the hypnotic churn of electronics, pushing forward with the grim certainty of something ugly discovering momentum. The band’s own summary is probably still the best thesis statement: struggle, decay, sarcasm, anger, despair and “fuckin’ sunshine.” That last part matters. Bacht’n de Vulle Moane aren’t offering escape from collapse so much as proof that making a horrible noise inside it still counts as defiance.

Verdwazing Der Dwazen is out September 1, 2026 on LP, CD and cassette through Into Endless Chaos Records and De Pankraker. Pre-order the record here, and listen to “Verdwazing Der Dwazen (Min Erte Bloedt)” below.

The post Track Premiere: Bacht’n de Vulle Moane – ‘Verdwazing Der Dwazen (Min Erte Bloedt)’ appeared first on Decibel Magazine.

“‘Waste Where Life Begins’ is the title track of our forthcoming release, but not only in name,” vocalist Mac Smith says. “It is the definitive statement for this work in groove, atmosphere and raw emotive expression. It is a representation of an amalgamation of all our members’ tastes, vision and how we truly feel when creating this album. Though it maintains our signature elements, it also introduces a darker approach that we’ve been formulating since the project’s inception.”

Get wasted with Apogean with the video below and head to The Artisan Era to pre-order Waste Where Life Begins before July 10.

The post Video Premiere: Apogean – ‘Waste Where Life Begins’ appeared first on Decibel Magazine.

Written and recorded over a period of almost two years by the band themselves, Vessel balances caustic post-hardcore intensity and noise rock sharpness with moments of reflection and restraint. The result is a record that feels shaped by the passage of time, informed by loss, grief, friendship and persistence, but delivered with the same urgency that made There Were Wires such a formidable force in the first place.

Today, Decibel is proud to present the full-stream premiere of Vessel ahead of its June 26 release via Iodine Recordings.

“I did not think Vessel would ever see the light of day,” singer Jaime Mason told us. “A 20-year absence from any and all activity, a greying spread across time zones, and the inexhaustible amount of obstacles set in the pathway of this record kept me in constant doubt. There Were Wires was a band formed in some other lifetime – almost in another universe from where we are now. I’m adjusting my reading glasses as I type this, nestled into my big grey couch with my dog Henry resting on my knee. I’m 3,000 miles away from the rest of my bandmates, watching a nearly finished video of ourselves performing “The Carousel of Sickening Bliss”. It’s visceral, angry, and visually beautiful for such an aggressive song. The video and entire record will be released later this week, delivered to the ether of the internet for scrutiny, applause, or indifference. I have feelings about it. Feelings on top of feelings on top of feelings, that’s what this record is drowning in.”

He continues, showing the undeniable emotional charge behind this record: “We all have lived a lot of life as the years evaporated before our eyes, and the discomfort of having to try so hard to regain the pieces of what we have lost was overwhelming at times. I’m not the same kid I used to be, and I don’t think anyone else is, either. Working on this piece of music with my friends — some of the most brilliant, stubborn, hilarious, and confounding people I’ve ever known – was not just a series of over-practiced riffs and fine-tuning choruses. Vessel was created in the face of laughter and despair. It bloomed through trust and loss. It was terrible and amazing at every turn — incomprehensibly frustrating and sometimes downright infuriating. Despite it all, I’m grateful for the chance to be a part of something that was so hard fought. It’s time to free this vessel we hold dear into the current of algorithms – it’s no longer ours now.”

Listen to Vessel in full below.

You can preorder Vessel here.

The post Album Premiere: There Were Wires – <i>Vessel</i> appeared first on Decibel Magazine.

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