TRACK PREMIERE: Kaine’s “The Wanderer”

By: Jeff Treppel Posted in: exclusive, featured, listen On: Tuesday, July 22nd, 2014

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Their name is Kaine and the song is called “The Wanderer,” so the nerd in me wants to say that this UK band named themselves after the  classic TV series Kung Fu – but their name is spelled differently and also they look like they are about 16 and oh God I’m old. Anyway, there’s some serious classic metal thunder going on here. Young or not, Kaine have clearly studied under the Masters of the New Wave of British Heavy Metal. You can check out what they have going on with our premiere of “The Wanderer.”


***The Waystone comes out on August 1. You can order it here.

Get Sinister: Exclusive A389 Mixtape Stream/Contest!

By: Shawn Macomber Posted in: contest, featured, free On: Tuesday, July 22nd, 2014

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A389 Recordings is the most dangerous record label in America, period.

Those who doubt it will have a tough time accounting for the 2014 A389 Digital Mixtape/Sampler, an utter beast of a collection featuring fifty-plus salvos from such sinister extreme music heavyweights such as Integrity, Bloodlet, Ringworm, Weekend Nachos, The Black Dahlia Murder, Iron Reagan, and Noisem, alongside a slew of newer/lesser known future levelers.

Decibel is proud to not only host the exclusive stream of the mix below, but also to offer up ultra sick A389 PrizePacks to the five readers who leave the most entertaining/inventive comments below regarding a new band they discovered via the mix.

Everyone else, head over to the A389 webstore where all orders are 25 percent off this week with the following code: A3892014MIXTAPE. (All Bandcamp downloads are set to free/pay what you want for the week as well…)

Also, see the flyer above for info on a tremendous A389 sideshow happening this weekend in Philly.

Tracklisting after the jump…

Choke On A Gloriously “Bitter Pill”: Exclusive Overkill Premiere!

By: Shawn Macomber Posted in: featured, videos On: Monday, July 21st, 2014

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Overkill has been on an absolute tear since Ironbound (2010), and the unrelenting down n’ dirty thrash of the band’s latest excellent sneering scream from the gutter White Devil Armoryout tomorrow! — ably proves this string of second — third? — wind triumphs is no fluke.

Which is why it is such a great honor to debut the video for “Bitter Pill” below…

Enjoy! Previous video for “Armorist” after the jump.

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Morean and V. Santura (Dark Fortress) interviewed

By: Chris D. Posted in: featured, interviews On: Monday, July 21st, 2014

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** Germany’s Dark Fortress have plied black metal’s murky, obsidian-colored waters for the better part of 20 years. In that time, they’ve crafted seven full-length, all of which have gone on to acclaim and recognition. Unlike most bands, Dark Fortress haven’t played it easy across their varied discography. They’ve experimented, tried new ways to mold the dark into their own visage, and have, largely, come out the other end an eviler, cleverer entity. This plays into new full-length Venereal Dawn. Easily the group’s most accomplished album, Venereal Dawn fits somewhere between Mayhem, Triptykon—guitarist V. Santura is a contributing member—, and, well, Dark Fortress.

Twenty years? What does that mean to Dark Fortress having survived for two decades?
Morean: It just shows how old and how stubborn we are. I guess it’s in our Bavarian blood to hang on to things.
V. Santura: This is a difficult question and maybe I wouldn’t emphasize the fact that we already exist since 20 years too much, makes us look older than we actually are. Asvargr founded the band back then with our old vocalist Azathoth and from the early days it is only Asvargr left in the band. So, for us others the band feels younger, but it speaks for our stamina, idealism (and yes) stubbornness that we are still around. And also that we still really enjoy this band.

How is Dark Fortress a different band now than you were in 2001 on the Tales from Eternal Dusk full-length?
V. Santura: After the recordings for Tales…, which took place in summer 2000, there was a major turning point in the band, because within a few months with Seraph, Draug and myself three new members joined the band. Since then this “second” line-up of Dark Fortress proved to be very stable with the exception that Azathoth and Dark Fortress parted ways in 2007, but Morean established himself extremely quickly as the new face and frontman of the band. I couldn’t imagine Dark Fortress without him now, and it is almost seven years now and three albums together. Of course, the “daily routine” of the band also changed a lot since 2001. Back then we were all living in the same area, rehearsed regularly once or twice a week, arranged a lot of songs together and were still a rather unknown band in the underground. Now, one third of the band lives in the Netherlands, so regular weekly rehearsing is impossible nowadays, so when we get together it is always for special purposes, but then it is super intense.

Venereal Dawn is quite an album title. Tell us where it first came to Dark Fortress and what it means.
Morean: I was ready to start writing my concept and lyrics in 2011. Traveling in Mexico, I was reading Stephen R. Donaldson’s Chronicles of Thomas Covenant The Unbeliever again at the time, and was fascinated by the idea of sunlight becoming something that actively and drastically twists and mutates the world. Simultaneously, the ancient lands of Oaxaca and the mind-boggling skies over it that particular day left me spiritually impressed and inspired; something got triggered in my mind and I started seeing scenes like from a movie, heard music, there came a story, images… It had nothing to do with Mexico and not even with Donaldson too much, but sometimes there is this moment that you know something wants to create itself. It can be quite unstoppable. “Venereal Dawn” and “Betrayal And Vengeance” came as titles to me that very moment. We had about 10 good options at the end how we’d call the album, and funny that it came back to the very first words I had written for it. “Venereal” originally just means “pertaining to Venus”, but in daily use it has another connotation: Venus is the goddess of love and beauty, very seductive and elevated, but in reality it is a hellish planet where nothing from this earth can survive. In the term “venereal disease”, it implies a disease that consumes you from the inside. We thought “Venereal Dawn” is an apt title for the similarly two-sided story of this album.

It’s a concept album in nine chapters. Tell us about the concept.
Morean: It centers around the idea of living light; the confrontation of our world with beings whose body is mere quantum quivering, but who possess sentience, intelligence and a long history. The scenario is that the sun has acquired a new character which deforms and perverts all life on the planet. The only way people can protect themselves fleetingly is to anoint their skin with living blood. This has brought down civilization. The protagonist is one of those human sacrifices left to be devoured by those beings. Halfway through the album, the focus shifts from the outside world to internal experience. The story of his and mankind’s demise and transfiguration becomes one of deep spiritual upheaval and catharsis, to the backdrop of a grotesque and extremely hostile world. I’m not sure why I can’t seem to avoid those two elements, dying worlds and spiritual transformation. In that sense the departure point might be similar to other albums we made. However, this time I was interested in the human implications of going through such a process. In a way, the external story is just the images my particular mind created around what I felt when I delved into my own abyss and astral adventures when writing the words. In that sense I hope the album is more than just a story; the emotions and visions we put into it are very real, and left me rather shaken at times. So it’s not just science fiction; I see it as a morbid parabola on things hidden deep inside us.

Was there a particular magic moment—something that said, “Yes! This is our path forward”—for the band while writing Venereal Dawn?
Morean: I guess the song writing session in January 2013 was what finally broke the dam. We had a bunch of loose songs before that, but somehow it always struggled to find a center. We got together every day for a week, everybody bringing their ideas to the table. Then Santura and Seraph jammed out Santura’s ideas in a few intense sessions spread over months, and all of a sudden there was too much stuff! Santura has these periods, when the world leaves him alone for just a little while, that all of a sudden you get five mp3s and there is an album on the table… and suddenly it’s rolling.

You’ve spoken about the album writing process. How’d you finally find time to put it all together?
Morean: Santura has a lot to say about this, I guess. In fact, we worked on it whenever we could in the last three years, many hours went into this album. But the crunch time, once recordings started, was a combination of comparing agendas (and despairing), and Santura finding the time, since he was busy with it full time for months on end. We were annoyed of course that we had to postpone the release again, from early to later 2014, but it was good that we had some time for the finishing touches after Santura delivered the new Triptykon album. Once again, the devil is in the details in this one.
V. Santura: I don’t have to add much to Morean’s explanations here actually. After those songwriting sessions in January 2013 it was clear to me that we would be able to record a complete album somewhere in 2013, because we broke the levee creatively. In the next few months I kept on working on further ideas and had some jam and arranging sessions especially with Seraph and Asvargr, so we decided to produce the album in October and November. The original plan was to record and also mix and master the album within those two months. Usually this should be more than sufficient, but especially during the guitar recordings I got lost in my own world and again I was simultaneously rehearsing with Triptykon for Melana Chasmata. Towards the end of November we basically had everything recorded but I had to admit that I just couldn’t pull of the mix anymore at that time. So we had to cancel our first deadline and postpone the mix for a while until I was finally having time and energy for this again. It sucked that we had to postpone the album, but in the end it was the only right decision, so I could put as much time and love for details into it as I wanted and this way I am super satisfied and happy with the final result. I think I was only once about that satisfied with a Dark Fortress album directly after it was finished.

Dark Fortress are known for doing different cover songs. Katatonia and Angelo Badalamenti. Any covers on Venereal Dawn?
Morean: Not on the album, but we did record a cover of Shining’s “Besvikelsens Dystra Monotoni” a few years ago, which is now floating around in our ether with the other songs we wrote and recorded for the album. So, we hope to be able to release an EP with more material not too long after Venereal Dawn.

How was the studio experience this time around? I gather there was a lot of soul searching given time and professional constraints.
Morean: I don’t know how Santura doesn’t go crazy during his months of production, but I always enjoy screaming at him for hours on end. [Laughs] It felt it took forever, and we kept re-doing and tweaking the smallest details till the last second. But I enjoyed every moment, we had deep conversations and good food, and time to really focus. It was extremely exciting to witness these songs coming to life.
V. Santura: Well, I was running out of time and energy during the first mix (as described before) and I got too fucking self-critical with the guitar recordings at a certain time which was a little counterproductive, but other than that the studio sessions were great. This time we used an external studio with a big room for the drum recordings and this was a really interesting experience. It was our explicit aim to achieve a very natural, but still aggressive drum sound. I know, it is kind of en vogue to sound like a ’70s band nowadays, and the other extreme is to have totally quantized, triggered-to-death plastic drums. Personally, I don’t like either of these extremes and we tried to achieve a good compromise between a natural classic rock and a modern metal production. Also, every song in the album has its very own identity and so each song had to be treated very differently the way it was recorded, produced and mixed. Also, we never put so much time in the vocal recordings and arrangements and I think you can hear that. The most important thing to me was to capture the emotions that are within the songs in the right way and emphasize them.

Name five German black metal bands—other than yourselves—that deserve a name drop.
Morean: Haradwaith, Farsot, Secrets Of The Moon, Eudaimony, Lunar Aurora.
V. Santura: Ascension, Secrets of the Moon, Sonic Reign, Katharsis, Farsot

What is black metal to Dark Fortress?
Morean: The musical expression of emotional abysses.
V. Santura: The musical expression of emotional abysses. P.S. Is Dark Fortress still black metal? Or are we far beyond that?

** Dark Fortress’ new album, Venereal Dawn, is out September 1st on Century Media Records. Pre-orders are not yet available, but click this link (HERE) to get back catalog titles like Ylem and Eidolon.

For Those About to Squawk: Waldo’s Pecks of the Week

By: admin Posted in: a fucking parrot previewing new releases, featured On: Friday, July 18th, 2014

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The dog days of August are almost upon us and, man, this parrot is wiltin’. Anyway, not too much for me to get excited about this time around, but you know, read for yourself and find out.

“Consistent” is a good word to describe OVERKILL’s White Devil Armory. I mean, this band DOES change, and they’ve been through a lot in their career — changing times, age, members leaving — but they’ve kind of seen their way through it all. This is how most reviews you’re going to read will sum this record up. This sounds like a thrash record, for sure, and does Bobby Blitz ever age? I mean, his voice is just as sharp and aggressive as ever. So, onto the record, right? Has Overkill ever put out a record that sucks?  Not really, so for what it’s worth, the production is crisp, sharp, and sounds like what this genre should sound like.  The songs are cool, and mostly have that later-era Overkill vibe, where it’s thrash kinda mixed with high-energy Motorhead sorta stuff.  One complaint that I’ve had with the last couple of records (and  this one) is that they kind of tread water. I mean, there is NOTHING new here. Consistent? Yes. Thrilling? No. 5 Fucking Pecks

MUTILATION RITESHarbinger. Wow, I’m pecking digging this a little bit.  Black metal isn’t really in my wheelhouse, but I wouldn’t really call this black metal. Sure there are elements, but like Deafheaven, this kind of defies the genre of which it’s associated. There’s crust, sludge, thrash and, well, blackened ear-fuckery, all tied up neatly to deliver one pretty gnarly package. It’s really easy for the purists to kind of hate on this, but listening to it, I mean really listening to it is kind of a treat. This is mean and nasty — none of that frostbitten icy windstorm birdshit that a ton of these types of bands do. I dunno, I’m pecking into this.

MONARCH, Sabbracadaver. OK, I do speak a little French. I mean, we parrots are bilingual. But I did not really feel like scouring the web to find this, so I haven’t listened to it.  This is a three-track 46-minute opus, and if ANY of their recent efforts is an indication, this is going to be great. Monarch are heavy, brooding, plodding death/doom, and they totally have their own sound. This shit is raw and expansive at the same time, so get it. Uhhh… 8 Fucking Pecks (screw you, I know I’m going to like it).

Midnight flexi disc of Venom cover now available!

By: mr ed Posted in: featured, flexi disc On: Friday, July 18th, 2014

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Cleveland’s finest hooded hellions Midnight get lead review honors in September’s Decibel for their ripping sophomore full-length No Mercy for Mayhem. But that’s not the only honor the issue bestows upon Athenar and crew conjuring the earliest days of black metal majesty. Midnight make their Flexi Series debut with a full-throttle take on longtime influence Venom’s classic “Too Loud (for the Crowd)”.

This Lucifer-loving rager closes Venom’s 1985 record, Possessed. Arriving on gold on white plastic, “Too Loud (for the Crowd)” will only rear its deformed head in the Flexi Series, not on No Mercy for Mayhem. There are an extremely limited number of issues containing the flexi available for order here in Decibel’s webstore. Move on it now, or regret it forever.

The Deciblog Presents Bonus ‘My Awesome Day Job’ Content: Psychotic Gravedigging with Psychotic Gardening

By: kevin.stewart-panko Posted in: exclusive, featured, gnarly one-offs, interviews, uncategorized, videos On: Thursday, July 17th, 2014

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A couple months ago, I introduced you to Winnipeg death metal outfit Psychotic Gardening here. In the search for additional and interesting content for this here spot on this here blog, I was altered to the fact that vocalist Chris “Gillishammer” Gillis’ dayjob was as a gravedigger! As soon as I heard that, I immediately did the most logical thing and rustled up a bunch of email questions to discuss his life and work in one of the most metal – stereotypically speaking, of course – gigs a metalhead can have.

So, how did you end up in the gravedigging line of work? What sort of training and/or qualifications does one require to do what you do?
Well, it’s something that just fell onto my lap actually. I saw an ad in the paper that the city of Winnipeg was looking for a cemetery groundskeeper and right away I thought, “this job is for me!” At the time I was hired, I didn’t have much by way of qualifications, but after being there for ten years, I’ve gone from grounds keeping to installing tombstones, digging graves, heavy machinery operations and now a foreman. It’s actually kind of ironic being a gravedigger – in my previous job I was a killer! I worked in a slaughterhouse for 14 years, where I was the “bleeder”- y’know, the one who shackles up hogs and bleeds them out; 2000 a day for 14 years….you do the math! People thought that was the perfect job title for me; little did they know I went from a killer to a gravedigger.

For whom and where do you work? What’s an average work day like for you?
I’m employed by the city of Winnipeg, and we run three different cemeteries in the city. Depending on whether I’m foreman or digging, my day can vary. We can have 10-12 funeral services in a day, so I keep very busy. Death is a good business.

Isn’t your job is beholden to not only the rate of people dying at any one particular span of time, but also whether or not those people are buried at the cemetery you work at? Are there spells of time where you’re sitting around doing nothing for days and vice versa?
I’m based out of one cemetery, which is the fourth largest in all of Canada and the largest in Manitoba. It’s over 300 acres, with approximately 200,000 burials to date. This particular cemetery is over 150 years old, with a lot of history and a lot of military burials from both world wars, around 20,000 [war burials] I think. There are months that are a bit slower than others, but with a cemetery of that size, there’s always work to do. There are actually about 30 workers in the summer months and only 10 in the long, cold winters. Our winters are pretty brutal. Last year, we had a good four feet of snow cover where you couldn’t even see the tombstones and the temperatures often dropped to -40 degrees Celsius.

Tell us about the digging process. How long does it take? Are there specific and standard dimensions you dig at? Is the whole ‘six feet under’ thing accurate? What are the tools of your trade?
Digging full casket burials is now done with a backhoe and dump truck. Generally speaking, it doesn’t take that long, as long as “complications” don’t arise. In the summer months, it takes 20-40 minutes and a standard “plot” is 10’x4’ and only five feet deep. Here in Manitoba, there are safety regulations that require a special permit to dig deeper than that. The only exception is when a family buys a “double depth plot,” meaning we bury one on top of the other. In that case, we dig approximately nine feet deep. You ever jump into a hole that’s 9 feet deep? That would scare the shit outta anyone [laughs], especially when you know that not two feet over on each side there are corpses. In the winter months, the frost usually reaches 4-6 feet deep. In that case, it’s like digging through fuckin’ cement. That can take a good four hours easily. Most of the time in the fall, we will dig at least 50 graves all in a row and use them in winter months. Now that’s a site to see! Right out of a horror movie: 50 open graves in one row, waiting to be “filled.” A usual cremation burial is dug out by hand and is only 2’x2’x2’.

What are the unsung hazards of your job? What about the stereotypes, Halloween pranksters, grave robbers, tombstone defacers, metal bands bugging to do location shoots, solitude, etc. you have to deal with?
Hazards, there’s a few for sure. Cave-ins are the worst. The types of earth are very different and vary foot to foot. Unstable ground is always a factor when digging. Here in Winnipeg, we have a very high ground water table, and there are times you could be digging four feet down, the next thing you know there’s a bloody underground stream racing through the grave. Nothing like seeing the “neighbour” [laughs]. On occasion, we’ve had vandals hit our cemetery. Coming to work in the morning to see 200 stones knocked over sucks. And it makes for a lot of unnecessary work. But hey, fuck with the dead, and they just might follow you home…no lie. It’s funny though, I have more people asking if they could have their weddings at the cemetery than metal bands wanting to take pics. But really, most metal dudes would be hopping the gates at night for that. When I’m not racing around making sure graves are dug and funerals are brought in, it’s nice to look around and be around sooo many “people” and yet be alone. Silence and calmness at its best, it’s very peaceful. You’d be surprised how many film location directors come in to shoot scenes at my cemetery. Like I said, it’s huge, old and historic. Makes for great shoot locations.

What’s the craziest thing you’ve seen on the job?
I’ve seen a few crazy things…disturbing to most people, I’d imagine. Some things I can’t legally speak of. About two months ago, I saw a small group of people gathered in an old area of the cemetery. It seemed odd, so I approached them. It turns out they were in a rush, packing up some equipment, paranormal [detecting] equipment. Apparently they found what they were looking for [laughs]! Something or “someone” scared the shit out of them and I haven’t seen them back since. I’ll admit, there have been times where I’ve looked over my shoulder, or felt a tap on the back. It’s funny how eyes can also play tricks on you. “Did I just see that?” has gone through my head on more than one occasion. I guess the most disturbing thing, or exciting, depends on the person, is when I get an order for a disinterment. Seeing a corpse…that’s something you can’t “un-see.” As I said, I’ve worked in a slaughterhouse and that smells like roses compared to a decomposing body. Nothing like jumping in a hole with a body that’s been buried for 20-plus years and having to handle it face-to-face. It’s times like that, I’ve wondered who or what has followed me home [laughs]. When things at home happen or get misplaced, all starting the day after a disinterment – to this day, I think I may have a couple of new “old friends” from the cemetery. Let’s just say, it’s never dull at work.

Admittedly, being a gravedigger is a pretty “metal” job. Do your work colleagues know about your being in a death metal band? From what other walks of life do you your colleagues hail from?
Everyone I work with definitely knows I’m in a metal band. There’s no doubt when I’m showing up in the morning wearing Venom, Celtic Frost, Bathory and Psychotic Gardening shirts with hooves, horns and inverted crosses. It’s funny when you see the look on faces of people who are there for a funeral, and they recognize you from being on a stage the night before at one of our shows or from a news clipping in the paper. I once had a woman in her 70s say she saw me in the paper looking all scary and mad at the world! There probably isn’t a more metal job out there: surrounded by death, disease, murder, suicides, misfortunate, accidents, and victims of war; it’s inspiration at its finest, I’d say. Add a little evil and morbidity and you now have the Psychotic Gardening recipe. We in PG are not just your same ol’ same ol’ death metal band. Diversity is a mainstay for us, whether it’s slow gloomy and morose doom tracks, or a ripping, blasting track, we feel we can do it all and not follow the herds that tend to flock together sounding like the next popular fad. Why pigeonhole oneself? We write what we’re feeling and like to let our emotions take over.

Admittedly, when I found out you were a gravedigger, my reaction was one of exuberant excitement. This was mostly because I figured it was going to make for an awesome interview, but also because, dude, you’re a gravedigger! What sort of reactions do you get when you tell people what you do?
Yeah man, gravedigger is definitely a sweet title for a metal dude. When people ask what I do for work, there are many different reactions. Some people get creeped out or scared; others think it’s the coolest job out there. Being in death metal bands for 24 years now, there isn’t a reaction to what I do, on or off stage, that I haven’t seen. And honestly, metal is a lifestyle in which I chose to live, so I can’t see myself changing careers or hanging up the mic as a metal singer till I’m buried in a hole myself.

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And if you’re in, or are going to be in, Ontario or Quebec next month, check ‘em out live:
Aug 13 – Thunder Bay, ON – TBA
Aug 14 – Sudbury, ON @ Zigs
Aug 15 – London, ON @ The Richmond Tavern
Aug 16 – Toronto, ON @ The Comfort Zone
Aug 17 – Hamilton, ON @ Doors Pub
Aug 18 – Toronto, ON @ 751 (CD Listening Party Metal Monday w/ Alexander Wurm Erhardt)
Aug 19 – Oshawa, ON @ The Atria
Aug 20 – Guelph, ON – TBA
Aug 21 – Belleville, ON – TBA
Aug 22 – Quebec City, QC @ Salle Unission
Aug 23 – Montreal, QC @ Crobar
Aug 24 – Ottawa, ON – TBA

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PG on Bandcamp

VIDEO PREMIERE: King of Asgard “The Runes Of Hel”

By: justin.m.norton Posted in: exclusive, featured, videos On: Thursday, July 17th, 2014

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Happy Thursday. For your viewing pleasure at the Deciblog today we have an exlusive premiere of the video of King of Asgard’s “The Runes of Hel.”

The track is from their forthcoming album Karg, due from Metal Blade on July 22. Watch the video below and then learn more and preorder the album here.

Decibrity Playlist: Goatwhore

By: zach.smith Posted in: featured, interviews, listen, lists On: Thursday, July 17th, 2014

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For the past decade or so, Goatwhore has been one band that you can count on to put out quality release after quality release. The quartet’s latest LP is yet another um, merciless, entry in its oeuvre. So to celebrate both the recent release of Constricting Rage of the Merciless and the start of the NOLA natives’ run alongside Morbid Angel, Dying Fetus and others on this year’s Summer Slaughter tour, drummer Zack Simmons passed along five tracks that everyone should spin. Given his first name, it’s not surprising he has pretty good taste.

Pick up a copy of Goatwhore’s new record here and catch them on tour on the dates below.

Carnivore’s “Angry Neurotic Catholics” (from 1987′s Retaliation)
It’s hard to pick just one song off this record, but this track fucking destroys. It’s got it all: breakneck riffs, genius lyrics and excellent production. Straight and to the point. No fuckery.

Mercyful Fate’s “The Oath” (from 1984′s Don’t Break The Oath)
I remember the first time I heard this song. I was probably about 12 years old and it scared the living shit out of me. I still get goosebumps and that exact feeling to this day. If you want to spook your parents or girlfriend, give this a spin!

Basil Poledouris’s “Anvil Of Crom” (from 1982′s Conan The Barbarian OST)
People use the word “epic” a lot to describe music these days. This song would be my definition of the term. Perfect soundtrack to a perfect film. The ties between this and metal music are undeniable.

Scorpions’ “We’ll Burn The Sky” (from 1977′s Taken By Force)
One of my favorite Scorps songs. The lyrics are actually a poem Jimi Hendrix’s girlfriend wrote for him after he died. This was the last record Uli Jon Roth played on. I saw him live about a year ago and it was the loudest show I’ve ever attended! Painfully awesome!

Def Leppard’s “Let It Go” (from 1981′s High ‘n’ Dry)
Say what you will. This is pure rock and roll! If this doesn’t make you bang your head and crack a beer, then I feel sorry for you! Listen to those damn riffs!

*Photo by Peter Beste

**Pick up a copy of Constricting Rage of the Merciless here

***Goatwhore US tour dates (all dates are Summer Slaughter gigs with the exception of Richmond):

7/17/2014 The Regency Ballroom – San Francisco, CA
7/18/2014 The Observatory – Santa Ana, CA
7/19/2014 House of Blues – West Hollywood, CA
7/20/2014 Nile Theater – Phoenix, AZ
7/21/2014 Tricky Falls – El Paso, TX
7/22/2014 Sunshine Theater – Albuquerque, NM
7/23/2014 Summit – Denver, CO
7/25/2014 House Of Blues – Houston, TX
7/26/2014 Scoot Inn – Austin, TX
7/27/2014 Gas Monkey – Dallas, TX
7/29/2014 State Theater St. – Petersburg, FL
7/30/2014 The Masquerade – Atlanta, GA
7/31/2014 The International – Knoxville, TN
8/01/2014 Agora Theatre – Cleveland, OH
8/02/2014 Mojoes – Chicago, IL
8/03/2014 Skyway Theatre – Minneapolis, MN
8/05/2014 The Rave – Milwaukee, WI
8/06/2014 Crofoot Ballroom – Detroit, MI
8/07/2014 Rapids Theatre – Niagara Falls, NY
8/08/2014 Irving Plaza – New York, NY
8/09/2014 The Palladium – Worcester, MA
8/10/2014 The Trocadero – Philadelphia, PA
8/16/2014 Gwar B-Q @ Hadad’s Lake – Richmond, VA

****For past Decibrity entries, click here

Past Decibrity Playlists

By: zach.smith Posted in: uncategorized On: Wednesday, July 16th, 2014

***Past Decibrity entries include:

North
Tombs
Sadgiqacea
The Atlas Moth
Arch Enemy
Archspire
Cormorant
Eyehategod (Part 1) (Part 2)
Floor
Iron Reagan
Fight Amp
Cynic
Melt-Banana
Junius (Part 1) (Part 2)
Alcest
East Of The Wall
Enabler
Wolvserpent
Drugs Of Faith
SubRosa (Part 1) (Part 2)
Vattnet Viskar
Skeletonwitch
Ihsahn
Earthless
Watain
Orange Goblin
God Is An Astronaut
Primitive Man
Gorguts
Exhumed
Ulcerate
Pelican
Scale The Summit
Mikael Stanne (Dark Tranquillity) (Part 1) (Part 2)
Mouth Of The Architect
Howl
Kings Destroy
Zozobra
Call of the Void
Saint Vitus Bar
Coliseum
Woe
Anciients
Soilwork (Dirk Verbeuren) (Björn Strid)
Intronaut
BATILLUS
Inter Arma
Helen Money
Misery Index
Ancient VVisdom
Holy Grail
Rotten Sound
Ancestors (Part 1) (Part 2)
Kowloon Walled City (Part 1) (Part 2)
Aaron Stainthorpe (My Dying Bride) (Part 1) (Part 2)
Early Graves
All That Remains
Bison B.C.
A Life Once Lost
Fight Amp
Witchcraft (Ola Henriksson) (Magnus Pelander)
Vision of Disorder
Grave
Anders Nyström (Katatonia) (Part 1) (Part 2)
“Best of” Rush (Part 1) (Part 2)
Dawnbringer
Ufomammut
Shadows Fall
Horseback
Greg Mackintosh (Paradise Lost) (Part 1) (Part 2)
Torche
“Best of” Meshuggah
Astra
Pallbearer
Barren Earth
Shane Embury (Napalm Death) (Part 1) (Part 2)