Emminent Womb is set for release in 2026 via Argonauta Records. Check MD’s Bandcamp page for details here.

The band offers this about the song and video:

“’Woven Linen’ confronts the weight of religious oppression and reclaims where true power resides—with the Mother, the source of all life. Bringing this vision to life was a collaborative effort and we were proud to welcome four incredible women into the Gratuitous Productions family. Grave Dave created an amazing set with white witchy masks, a skeletal Saint Barbara, and Homer the stuffed goat, while Anne painstakingly stitched together a blood-soaked visual homage inspired by Suspiria.”

The post Video Premiere: Mama Doom – “Woven Linen” (NSFW) appeared first on Decibel Magazine.

The performance revisits tracks from across Voivod’s career, putting a particular focus on selections that, along with the musicians in the Quebec Symphony Orchestra, have a particularly cinematic or soundtrack feeling. The end result is what the best live albums are: releases that frame the familiar music in a new light.

Decibel spoke with Voivod drummer Michel “Away” Langevin prior to the release of Symphonique (out June 5 on Century Media) to discuss song selection, rehearsals, movie soundtracks and how the experience affected Voivod’s songwriting.

The post Interview: Voivod Drummer Away Discusses New Live Album, <i> Symphonique</i> appeared first on Decibel Magazine.

*NOTE: Sodom: The Official Authorized Biography by Holger Schmenk is not included in this sale.

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La Lune Dont Mon Âme Est Pleine is set for release on CD, vinyl, cassette and digitally via Lay Bare Recordings on June 12. Place your preorder here and here.

The band had this to say about the track and the accompanying video:

“After writing some lyrics inspired by Ramprasad Sen’s poems and a few riffs inspired by destruction and chaos, we reached out to Mirai from Sigh to ask him to contribute to the track. To us, he’s a guiding figure, one of our major inspirations, a true genius, and a legendary presence in the extreme music scene we love. In just a few days, everything was wrapped up thanks to Mirai’s efficiency, and we can’t thank him enough for his effectiveness and talent.

Depictions of Kali are fascinating; their freedom and their joyful yet destructive deviance call for dance, for she herself always seems to be dancing. That is why we filmed this music video over the course of nine months, as our dancer Ilse (from the duo Pourchasse Carcasse, who dances to our music live and in our videos) went through her pregnancy. Kali frees us from the fear of destruction, which is the true beginning of emancipation, since behind all powers there is always the threat that disobeying them will lead to oblivion, barbarism, hell, or something else; thus, freeing oneself from the fear of destruction is opening the path to emancipation.”

The post Track Premiere: Non Serviam – “Victory to Kali” (ft. Mirai Kawashima of Sigh) appeared first on Decibel Magazine.

Built on tightly controlled aggression, jagged, rhythmic turns, and a suffocating atmosphere, the track finds Godless leaning harder into tension without losing the surgical force that has defined their sound. It is death metal with its muscles clenched: violent, focused, and mean enough to leave a mark.

The accompanying video captures the song in its rawest possible form. Filmed live during Godless’ co-headlining set at the Wacken Open Air Pre-Party in Bangalore, the clip documents the band’s first-ever performance of ‘Architect of Torment.’ No concept-piece overreach, no cinematic padding, no digital fog machine nonsense. Just a death metal band throwing a new song into a crowd and letting the room absorb the impact in real time.

“‘Architect of Torment’ feels like a progression for us, leaning into a darker, more sinister atmosphere without losing the core of what Godless is,” the band tell Decibel. “After over a decade of locking into a sound, it felt right to push things further and see where it goes.”

That sense of forward motion is all over the track. Godless still sounds like Godless, but there is a heavier shadow over the riffs this time, a more oppressive weight in the way the song moves. Consider this less a reinvention than a tightening of the screws.

Watch the exclusive premiere of ‘Architect of Torment’ below.

The post Video Premiere: Godless – ‘Architect of Torment’ appeared first on Decibel Magazine.

The new song crawls and lurches before it blasts, displaying the full spectrum of Goetia’s sound and abilities. Guitarist Demir Soyer’s riffs cut straight to the chase, while the rhythm section of drummer Nadia Tydings-Lynch (Blood Monolith, Deliriant Nerve) and bassist/vocalist Matt Scott (ex-Perpetuated) hold down the core.

“‘Corpse Candle’ was written as a direct follow up to ‘Mortuary Cult,'” Scott tells Decibel. “The idea was that if ‘Mortuary Cult’ depicts the living seeking out the dead, ‘Corpse Candle’ would be about the dead seeking the living. Corpse candles are a form of ghost lights, which are said to beckon the living towards their death. This phenomenon is often seen in the heat of summer nights in the south, and this track was written from the perspective of someone who is unable to resist the attraction of their glow. The deliberate slower pace was meant to contrast with ‘Mortuary Cult’ musically, to mimic the inversion of the lyrical theme.”

Hear “Corpse Candle” below, as well as its sister track, “Mortuary Cult.” Mortuary Cult (the album) is out on June 12 via Carbonized in the US, Europe and internationally.

The post Video Premiere: Goetia – ‘Corpse Candle’ appeared first on Decibel Magazine.

Formed more than a decade ago in the suburbs of Philadelpjhia, L.M.I have shifted through a few sounds before finding themselves in the heavy, sludgy form they are today. “Feelin’ Tired” begins in a pretty standard format before slipping into a hazy sound marked by discordant lead guitar and a female voiceover. Just when it seems like the song is over, L.M.I. come back to mop things up with a nasty breakdown.

“We are excited to finally be able to announce our new EP, L.M.I. V and the first single ‘Feelin’ Tired,’ L.M.I. tell Decibel. “‘Feelin’ Tired’ displays how we have been experimenting with our sound over the past two years. The song itself is about being physically and mentally exhausted but not having any time to slow down and being forced to continue with life at this pace regardless of what’s going on.”

V is out June 19 on HPGD.

The post Track Premiere: L.M.I. – ‘Feelin’ Tired’ appeared first on Decibel Magazine.

Why the hype?
This band first came onto our radar last year with an exceptional demo and lo and behold they have graced the world with a debut full-length that is nothing short of being an utter masterclass of chaotic grind warfare. Imagine all the technicality of Defeated Sanity but truncated into the hyper blast spazziness of Mellow Harsher or Sulfuric Cautery and you get a picture of what this band does so well. Also, no Spotify or even Instagram, so you know these guys MEAN FUCKING BUSINESS!

Latest Release?
Decrepitizing Din of the Cerebral Psyopticon, out now on Iron Lung Records. I know I often say an album is a shoo-in for my best-of end-of-year list but this one goes a step further. It’s pretty much up there with “grind album of the decade” until otherwise. Thirty minutes of only the most obscene blasting cacophony. Albums and bands like this are why I fell in love with the genre in the first place.

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Endbringer was recorded at Eternal Studios, Vänersborg (March 29 – May 6, 2025). It was mixed and mastered by Robin Leijon. The band is self-releasing Endbringer digitally on May 22. You can presave it here.

Quote from band:

“Endbringer represents a turning point for us as a band. It’s where everything we’ve been building finally comes together — not just musically, but thematically as well.

The album moves through cycles of collapse and rebirth, reflecting a sense of inevitability that runs through everything — from personal struggles to larger societal tensions, and even the forces of nature and the universe itself. We wanted the lyrics to be open enough to be interpreted on multiple levels, whether as something deeply personal or something much bigger.

It’s darker, heavier, and more focused than anything we’ve done before — and at the same time, it feels like the most natural version of our sound.”

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