Full Album Stream: White Willow - 'Future Hopes'

Norwegian art rockers White Willow have always incorporated elements of progressive rock into their music, and on their seventh disc, Future Hopes, they continue to explore that path.

Future Hopes is nothing if not diverse; each song on the album sounds different, from the soundscapes of “Where There Was Sea There Is Abyss” to the guitar heavy sounds of “Animal Magnetism.” The album also experiments with electronic and acoustic sounds, making it an unpredictable listen. 

Stream the entirety of Future Hopes below. White Willow release the album through Lasers Edge on March 31. Get it here. 
 

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Video Premiere: Beastwars - 'Some Sell Their Souls'

New Zealand sludge outfit Beastwars wade through thick, heavy riffs in their new music video for “Some Sell Their Souls.” 

The band, who released their full-length The Death of All Things in 2016, are shown performing in a lightly crowded room to a barely interested audience. 

“The video for ‘Some Sell Their Souls’ was inspired by a set of studio videos we did called The Sundae Sessions, where the audience was sitting around us on chairs,” the band notes. Some of the YouTube comments are hilarious with complaints about how sedate the crowd look, why isn't there a mosh pit etc. With this video we took the audience response to a Beastwars experience to its extreme.”

You can get all three of Beastwars’ albums for “Name Your Price” until April 20.

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Full Album Stream: Cripta Oculta reëmerge with compilation of heretofore lost & unreleased material

Never mind its conspicuously vague provenance, its b-sides comp. status and the stigmata therein, Cripta Oculta is a full length album of never-before-heard Cripta Oculta. And for a band as prolific as that Portuguese duo had once reigned, they sat on some incredible material. [For immediate reference, skip straight to the eleven minute penultimate slayer.]

Though they slumber now, Cripta Oculta’s draughty presence is potent as ever on this six track collection. While for some it may merely assuage the void they left behind, Cripta Oculta is more than an indication that the world needs more Cripta Oculta. It is more Cripta Oculta. Mandatory for fans. Perfect for initiates.

Check it out.

Get Cripta Oculta this Friday from Signal Rex.

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Talkin 'Bout Flex: Crypt Sermon

Since Issue #75, Decibel has brought you left-of-center b-sides, rarities, live recordings and new songs from top-tier metal bands via the outstanding Flexi Series.  Want to hear the stories behind these recordings?  Read on.

Everyone 'round these parts gets semenal about Mayhem's seminal debut full-length album.  That's no surprise.  We have also erected arms and other appendages for the muscular, height-scaling doom of Philly upstarts Crypt Sermon.  Their 2015 release Out of the Garden was a highlight of the slow and gritty, and we are happy to support their doomed trip through the closing opus on one of black metal's most essential entries.  Crypt Sermon's contribution to the Decibel Flexi Series was released with the Metal & Beer Fest issue (#151, May 2017), and can be heard below.

We asked guitarist Steve Jansson and drummer Enrique Sagarnaga about their intriguing choice, so while you bang out most unrighteously, be sure to glance at the screen a few times to read their thoughts on "De Mysteriis Doom Sathanas."

When were you approached to contribute to the Flexi Series?

Steve Jansson: Albert has always been very supportive of us and approached us about the idea doing a flexi about a year ago. It was a busy year for all of us, so it took us a while to finally commit and lock down a recording date. We eventually pulled ourselves together and made it happen. We're incredibly grateful for the opportunity!

How did you choose "De Mysteriis"?

Jansson: This completely ridiculous idea (a doomed out interpretation of Mayhem's "De Mysteriis Dom Sathanas", which will be appropriately re-named "De Mysteriis Doom Sathanas") came about when Enrique was talking with Thomas Tannenberger (of Abigor fame) and mentioned that we were debating on recording a cover track. Thomas made the suggestion try this out. Initially I wasn't certain how serious he actually was about it; I sort of laughed it off at first, but then got to thinking about it and sort of took it as a challenge. Everyone else seemed keen on the idea. We all agreed that if it completely sucked (which it had so much potential to do just that) we would back out and do something else, but we gave it a shot and are extremely proud of the end result. 

Enrique Sagarnaga: With just a few exceptions in mind, I've always thought straightforward cover songs fall pale in comparison to the source material. With that in mind, I  will say that I have always wanted to take a recording from an album that is near and dear to me, and re-work it as something new with its own identity. Covering this Mayhem classic presented a unique opportunity to experiment with this idea.

When and where did you record the song?  How much time and work did it take?

Jansson: We recorded everything in early October and used various locations in Philadelphia. We worked with Arthur Rizk again, who recorded and mixed our full-length. Thomas jumped on board to master the track, as well as contribute some vocals/vocal arranging. It was a pretty incredible experience working with him and I think he really pushed us all to the next level, especially Brooks. Those two make a killer team. We look forward to work with him again in the future. 

Sagarnaga: Arthur has been incredibly supportive of the band since we first worked with him, so having him return to the fold was and no-brainer. Having Thomas contribute vocals exceeded all expectations and really set the bar for what's to come with our next album. This recording also sees our vocalist Brooks experimenting with synths here and there, and proved to be a much-needed element for this recording.

Do you know yet what color your flexi is?  Any thoughts about what the color choice is or should be? (This question was asked well before the flexi disc was available.)

Jansson: I'm not sure what color it will be but if we have any say in this it should be purple and black. I think the reasons are pretty obvious. 

Have you listened to other songs in the Flexi Series?  What is your favorite Flexi so far?

Jansson: I have, but can't think of a favorite off of the top of my head. 

Sagarnaga: In Solitude covering Samhain's "Mother of Mercy".

Check out all of the Decibel flexis here.

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Label Report: Witches Brew

Label Report is a new weekly column shedding light on underground labels releasing extreme metal, whether it's death, black, thrash, heavy, speed, doom or something else! This week is Witches Brew.

Hailing from Germany, Witches Brew have spent the last fifteen years releasing a multitude of thrash, death and heavy metal albums, EPs and splits. While they’ve released albums from heavyweights like Toxic Holocaust in the past, Witches Brew haven’t slacked off in recent years. 

Bands from around the globe call Witches Brew home, releasing new recordings as well as reissuing rare or out-of-print gems. For the first edition of The Label Report, sink your teeth into a few of the label’s recent choice cuts. 

Fyrecross - Burn Them to the Ground 
Technically a CD reissue of the Greek heavy/speed metal crew’s debut EP, Burn Them to the Ground is heavy on shredding, galloping riffs and soaring vocals. Album opener “Fyrecross” begins with a guitar solo. Elsewhere, technical leads intertwine with the songs’ driving riffs to attack from both sides. 

Hellfire - Goat Revenge
The goat’s revenge is evil, whatever it is. Hellfire deliver an incinerating death/black metal fusion, combining meaty death metal riffs with tremolo picking and blast beats. Guitarist/vocalist Karargh howls like a man possessed, blending throat-shredding black metal shrieks and death metal growls. 

Calamity - Imminent Disaster
Calamity play technical thrash that strikes with an unusual amount of aggression. Furious guitar playing and energetic vocals take the lead on Imminent Disaster, seamless transitioning from furious six string assaults to air guitar-worthy solos and back. Another reissue, Calamity have included a bonus track on this version of their album. 

You can find Witches Brew on their website, on Facebook and on Bandcamp. 

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CONTEST: Win A Pair Of Tickets To Berserker IV Fest!

In case you missed last week’s post about Berserker IV, we here at Decibel would like to get you caught up on this all-out-rager of a show. The two-day event takes place on April 14 and 15 at the Crofoot in Pontiac, Michigan and features a great lineup including GWAR, Eyehategod and the return of Mike IX, OFF! and a slew of other killer bands. 

The whole event has been organized by Child Bite (who are also performing that weekend) frontman Shawn Knight and his wife Veronica. Berkserker IV is hosting over 25 bands, and the kind people behind the festival are giving you a chance to go FOR FREE. 

To win a pair of tickets to the fest, enter in one of two ways: 

- Email us at db_contest@redflagmedia.com with the subject line “Berserker IV” and the band you’re most stoked to see in the body of the email

OR 

- Share our post on Facebook and comment the band you’re most excited about. Be sure to like the page too!

The winner will be contacted next Tuesday (April 4). 

If you’re not the betting type, you can also buy tickets here and listen to the bands playing Berserker here. Don't delay on this, because it's a weekend of full-force music that isn't to be missed. 

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Full EP Premiere: Horns & Hooves got a “Morbid Lust”

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Top 5 Death Metal Albums Marred by Terrible Production

The subject header from Albert read: "top 5 idea". The body read: "The greatest death metal albums marred by terrible production." He then presents three albums, Reek of Putrefaction,  The Red in the Sky is Ours, and Breeding the Spawn. Immediately, I recognized a gold post idea if there ever was one. Certainly, there are reasons why, say, Breeding the Spawn sounded like an army of pitbulls arguing with a battalion of Sherman tanks muffled by the thickest pillow on planet. There are reasons why some albums sound better than others. Most of the time it's due to two things: money, which equals time and experience, which equals quality. So, Albert and I started discussing two more albums to round out the Top 5. I proposed Malevolent Creation's Retribution and Carcass' Swansong. He countered with Morbid Angel's Blessed Are the Sick and At the Gates' With Fear I Kiss the Burning Darkness. Settling on the list before you wasn't easy, but it's fairly obvious to veterans, who were there when all these records went down, came out, and were derided--in 'zines and magazines--for their terrible productions. Read on and present your own list!

5. Eucharist – A Velvet Creation
1993 (Wrong Again)
Swedish upstarts Eucharist presented a strange first impression with 1993 jaw-dropper A Velvet Creation. Though available only through mail-order (or really good indie stores) the year of its release, A Velvet Creation had a remarkably thin production. Most death metal, at the time, even by Swedish standards, had heft, a weight attributed to studios like Sunlight and Morrisound. Young Eucharist were also on very young Wrong Again Records, a Swedish indie without the budgets of Century Media or Nuclear Blast. Recorded MusikMaffian in Varberg, Sweden by Fredrik Larnemo, who went on to produce Ablaze My Sorrow and Decameron, A Velvet Creation wasn’t the end product the band expected. In fact, guitarist/vocalist Markus Johnsson has recently said the production “sucks”. Nevertheless, the brilliance of the songwriting—such as “March of Insurrection”, “A Velvet Creation”, and “Once My Eye Moved Mountains”—is undeniable. While At the Gates, Dark Tranquillity, and In Flames were garnering international recognition for the ‘Gothenburg Sound’, it was Eucharist who were taking it a decidedly classical direction, even if the members were barely out of high school, on A Velvet Creation.

4. At the Gates – The Red in the Sky is Ours
1992 (Deaf)
At the Gates have spoken openly about their dissatisfaction of The Red in the Sky is Ours production. To quote then-guitarist Alf Svensson in our Hall of Fame article, “I remember discussing the choice of studio a lot, but I can't remember why we ended up choosing ART Studios. But, after all, it was convenient for us since it was located in Gothenburg. We didn't really have the money yet (not even a signed record deal, actually), and I remember that the studio was really expensive. After a few days we realized that he [producer Hans Hall] didn’t have the first clue about metal. And certainly not death metal. I still remember the surprise on Hans’ face when Tomas started sound checking the vocals for the album. ‘Is this the way it is supposed to sound?’” Clearly, At the Gates were young—around 18—and inexperience, the lack of a label deal and significant funds also put stress on the recording sessions. Nevertheless, while The Red in the Sky is Ours borders in skinny—sound-wise—there’s a bit of charm in its non-heaviness. Actually, that charm, as Svensson discusses, is pure anger mixed with unbridled innovation. Kingdom fucking Gone, indeed!

3. Sepultura – Schizophrenia
1987 (Cogumelo)
Recorded in J.G. Estudios in Belo Horizonte, Brazil, it’s immediately curious that the producer credit goes to not an individual, like Scott Burns, but to a record label, Cogumelo Produções. Based on the Seps’ second album sound, it’s fairly evident the folks guiding the sessions and twiddling the knobs (engineer Tarso Senra had quite a job on his hands) were fairly inexperienced and/or had very little time—due to scarcity of funds—properly capture then-white hot Sepultura at their most intense and aggressive (that’d be two years later on Beneath the Remains). Again, it’s important to remember this was 1987 in Brazil, which was, back then, was as foreign as the Atacama Desert, and that bands like Sepultura didn’t have the resources of their “First World” counterparts. It’s also super-important to remember that guitarist Andreas Kisser brought in a whole new perspective, his traditional heavy metal mind meeting up perfectly with Max Cavalera’s more primitive approach. Which, of course, lead to Sepultura writing a blisteringly aggressive album—even though there are three instrumentals—that still stands the test of time. But the production could’ve been better. The 1990 Fullersound remaster helped matters nominally.

2. Carcass – Reek of Putrefaction
1988 (Earache)
British death metallers Carcass hit the ground running on gore-filled Reek of Putrefaction. The group set the standard for grossing out uppity critics and myopic fucks, who had, on the surface, deemed the Liverpudlians unfit for commercial consumption due to the graphic nature of the album art and Jeff Walker’s Harvard medical dictionary lyrics. But the songs, like the quaint “Carbonized Eye Sockets” or the prosaic “Vomited Anal Tract”, were buried deep inside a wall of sound, the likes of which would have Phil Spector running for the lavatory. The original production, by Mike Ivory (Sacrilege, Napalm Death), was useless, so the band and label had to quickly regroup, calling up Paul Talbot to “salvage” Carcass’ first foray. Though we’ve had almost 30 years to adjust to Reek of Putrefaction’s scraping, blood-caked production, it still causes our ears to curl and hair to stand on end. That is until we get to “Pyosisified (Rotten to the Gore)”, which is only about 4-minutes in. By that point, we’re deep in Carcass’ mushy wound.

1. Suffocation – Breeding the Spawn
1993 (Roadrunner)
Renowned for its garbled production, Suffocation’s follow-up to landmark debut, Effigy of the Forgotten, was never destined for greatness. This is likely because nobody ever really heard Breeding the Spawn in all its labyrinthine glory. Primary songwriters’—Terrance Hobbs, Mike Smith, Frank Mullen, and Doug Cerrito—new twisted, obscenely technical songwriting was barely audible in the morass of Paul Bagin’s production. That Bagin handled the Human Waste production should’ve clued him into Suffocation’s endless and constant mass of riffs, drums, and vocals. Apparently, Breeding the Spawn’s atrocious production values wasn’t entirely Bagin’s fault. Turns out, according to the Suffo dudes, then-label Roadrunner Records was reluctant to send the band back to Morrisound, where Effigy of the Forgotten was recorded with Scott Burns in 1991, opting to keep the New Yorkers local. The end result in 1993 was a surprise to not only Suffocation, but also to fans, who were waiting for death metal’s heaviest band to up the ante. Luckily, Suffo fans are slowly getting the chance to re-hear Breeding the Spawn by re-recording tracks on each of their post-reunion full-lengths.

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Gabriel "Negru" Mafa (1975-2017)

How do we consider a creative life cut short? It's tragic mainly for the deceased's family and friends. But it's also tragic in the sense of work left unfinished, and ambition interrupted. And this is certainly the case with Gabriel "Negru" Mafa, the drummer and visionary from Romania's Negura Bunget, who passed away earlier this week. Details around the cause of death are yet to be made public. He was 42.

Along with fellow original member Hupogrammos, Negru formed Negura Bunget back in 1994 originally as Wiccan Rede before renaming the band the following year. And as the band progressed, they become one of the most innovative artistic forces in black metal, pushing the boundaries in a way similar to bands like Fleurety and Solefald. But they also developed a reputation for integrating Romanian folk influences as well, just as bands like Ulver were making these sounds more prominent in black metal.

In describing the band, Negru once said in an interview:

"Negurã Bunget is a black fog coming from a deep dark dense forest. The name tries to picture somehow the kind of atmosphere, both musical and spiritual we'd want to create through our music. It has also a symbolical nature, standing for the inexpressible parts of our ideology. The two words are also from the Tracic substrate of the Romanian language (the oldest one, containing about 90 words) as the interest for our local history and spirituality is something of crucial importance and meanings for us as a band.

Zirnindu-sa is from Ancient Romanian meaning something like turning to black, dying... Sala molksa is even older than the Romanian language. Both words came from Indo-European language, the mother of all modern languages. Its semantic content is in close connection with our Dacic ancestors supreme spiritual value: the immortality.

Maiastru sfetnic is probably the hardest one to put in English. Although is in a more up to date Romanian language the two words are really close to a Romanian point of view. Would be something like a spiritual advisor, magic protector or majestuous counselor in English, though it's completely different in Romanian."

Negura Bunget is perhaps best known for the 2006's Om, but has released other great records like Măiastru Sfetnic and Măiestrit. As you can tell from Negru's own words, much of his work with the band aimed to bring the listener into a different time and place. Indeed, the use of a seemingly endless array of instruments brings many different colors into the standard black metal pallete. And with a wealth of music left behind, fans have much to explore.

The current incarnation of the band was busy at work with its "Transylvanian Trilogy," the second installment being last year's ZI. Hopefully there was some demo work put together so we can get an idea of where the band was headed. For those who knew him or enjoyed what he helped create, he'll be sorely missed.

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Demo:Listen: Sickdeer

Welcome to Demo:listen, your weekly peek into the future of underground metal. Whether it’s death, black, doom, sludge, grind, thrash, heavy, speed, progressive, stoner, retro, post-, etc. we're here to bring you the latest demos from the newest bands. On this week’s Demo:listen, we expose the world to Sickdeer.

Sickdeer is a sick D.C. black metal trio who play frequent live shows (one of which I will eventually actually witness) in the Washington D.C. area.  Their sound falls into that exciting no-man's-land between frenetic aggression and harrowing midpaced corrosion.  After firing off a solid self-titled EP, Sickdeer return this month with a gruesome new full-length, The Wretched of the Earth, that adds new dimensions to their dessicated savagery.

We asked drummer Shawnt Grigorian about his band's origins and ambitions, and you can read up on his thoughts while you summon unholy terror listening to The Wretched of the Earth.

How did Sickdeer form and start playing together?

[Guitarist]Garo and I have been writing music together for over a decade, but we decided to take things more seriously at some point in 2015. [Vocalist] Andre and I had played together in our first band when we were very young and reconnected musically more recently, which ultimately lead to the formation of Sickdeer. Our formation came at a point in time when the three of us were all on the same page as far as our aspirations in playing music.

Did you have any particular driving artistic desire or ambitions for what you wanted Sickdeer to be?

We want Sickdeer to be a collaborative effort of all our artistic abilities and inspirations, which centers on writing dark and extreme music. 

How have your shows been so far?  How often do you perform, and where?

Every show we have performed has been amazing, from meeting new friends and great people to just having a good time together as a band. We've played extensively in D.C.,  we try to play as many shows as possible and are looking to play as much as we can to support the new album.

Do you write music collectively or individually?  What creative process is most comfortable to you?

The process is ultimately a collective effort in the end. Writing new music starts with one riff, but we all really pitch different ideas while shaping the songs until we get the end product.

What was the recording process like for the new album?  Any surprisingly smooth or difficult issues?

We had a great experience recording this album. We recorded with our friend Yavé Rust at Blackfire Studios, who knew exactly what kind of sound we wanted for this record, couldn't be happier with how things sound.

Does Sickdeer exist as part of a greater musical community, or do you feel like you operate separately?

We are proud to be part of the extreme music community in D.C., but we also feel that Sickdeer doesn't necessary align with any singular musical genre scene. Although we feel our writing stems in black metal, we natural see ourselves on a broader spectrum of extreme music. 

What are some recent shows you've attended by other bands?  Favorites?

We've seen a lot of great shows recently. Some of the highlights have been seeing Inquisition, Mgła, Misery Signals, Zhrine.  Watching all of these great bands has given us a lot of inspiration to perform with Sickdeer.

What comes next for Sickdeer?

We plan to play as many shows as possible, write more intense music and continue supporting our friends and all the great bands in heavy music.

You heard it here first on Demo:listen. Check this space next and every Friday for promising new metal. 

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SPOILER: Decibel Reveals the Greatest Metal Tour of All Time in Special Issue!

There can only be one GOAT and it just doesn't get any better than seeing Venom, Slayer and Exodus on 1985’s Ultimate Revenge Tour. Click here to read the story behind the #1 entry in Decibel’s Top 100 Metal Tours of All Time Special Issue. For the other 99 tours, you'll need a copy of this limited edition Special Issue. Get one now before they’re gone for good. NOTE: This special issue is NOT included with your Decibel subscription.

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Full Album Stream: Fuck You Pay Me - 'Dumbed Down'

Cleveland’s Fuck You Pay Me are a rowdy bunch. Fronted by Cleveland hardcore mainstay Tony Erba, FYPM self-describe their rowdy hardcore as “economic desperation; the wrong color on a pregnancy test; dropping your phone into the shitter; 3:17 AM at Steve’s Hot Dogs… We sound a lot like that.” 

If that charming line didn’t make you click play on this exclusive full album stream, you should change that. Dumbed Down, the outfit’s new album featuring songs like “Ammosexual” and “Dark Side of the Spoon,” is an exhilarating and often sarcastic effort. 

"The title of the record is apt. It's faster, simpler and less 'cerebral', lyrically, than the last record," Erba tells Decibel. "We're not reinventing the wheel here, we're just building it to exacting Cleveland standards"

 

Sarcasm and briefness take nothing away from the album though. Tony Erba never falters in his vocal delivery and the band pound away with conviction. Dumbed Down is catchy too— you’ll probably be singing along after a listen or two. 

Dumbed Down is out on March 24 via Tankcrimes. Buy it in various formats here.

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Decibel Metal & Beer Fest Brewery Profile: Tired Hands

Tired Hands
Ardmore, PA
Start Date: 2012
Signature Metal Beer: HopHands

The bands that will be performing at the upcoming Decibel Metal & Beer Fest on April 22-23 in Philadelphia are no doubt familiar to Decibel readers, but we wanted to shine a little light on the craft beer underground by spotlighting the breweries that will be pouring their beers at the festival. In this one, we feature one of the two Philly area breweries, Tired Hands, run by Jean Broillet IV, who brews their “strange and beautiful beers.”

How does it feel to be one of the “home team” breweries at Decibel’s inaugural Metal & Beer Fest?
We are proud to be a part of Pennsylvania brewing heritage. I am an indigenous Pennsylvania brewer, so to speak; I grew up here drinking Victory and working in their retail shop and my first professional brewing job was with Weyerbacher in Easton. I also brewed at Iron Hill in West Chester for five years. We have a wonderful heritage of delicate German brews here in PA, which are some of the beers I enjoy drinking the most.

A couple years ago you had Municipal Waste drummer Dave Witte in to brew a habanero stout called Play Fast. Have you done other collabs with musicians/bands? 
Most certainly. SunBather with DeafHeaven; Yellow and Green, and Purple with Baroness; People Person with Pissed Jeans; Only Void and Devoid of Redemption with Pallbearer; and Savage Gold and Death Tripper with Tombs.

What’s the most metal beer Tired Hands brews?
HopHands, our precious American Pale Ale.

Why should attendees of first annual the Decibel Metal & Beer Fest seek out Tired Hands beers at the festival? Give Decibel readers your best pitch. 
We will be stoned and calm, and we know a bunch about beer and metal. And we are consistently voted the best brewery in PA, and are a top 100 brewer in the world, as per Rate Beer. And I think our beer tastes really good.

Are you working on any upcoming projects?
We are almost finished building our third brewery, which we have dubbed the Dispensary. We are also building a General Store two doors down from our first brewery, the BrewCafe, on Ardmore Ave. 

“Metal & Beer” tickets to Decibel Metal & Beer Fest are nearly sold out. Don’t blow it, go here.

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Track Premiere: Mourners Lament - 'As Solemn Pain Profaned'

Hailing from Valparaíso, Chile are old school doom/death purveyors Mourners Lament. Inspired by the older works of influential groups like Paradise Lost, Anathema and My Dying Bride and newer acts like SubRosa, Mourners Lament channel flattening heaviness and mournful melodies on their debut, We All Be Given. 

Album opener “As Solemn Pain Profaned” begins with spacious, clean guitar before leading into slow, heavy riffs and vocals that hold palpable sadness. Mourners Lament switch seamlessly from distorted instruments and reverberating growls to clean instrumentals and spoken word, which helps to build the melancholy atmosphere on We All Be Given. 

Hear “As Solemn Pain Profaned” below. We All Be Given is out through Hammerheart Records on April 20.

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Shane Embury to play marathon gigs with Napalm Death, Brujeria, and Lock Up on Campaign for Musical Destruction 2017 tour

He's back; he's the man behind the... (photo by Andy Sandoval).

Legendary grindcore bassist Shane Embury may be turning 50 this year, but that's not stopping the man from attempting a feat even those half his age might balk at: playing sets with grind/death band Lock Up, groove-grind-Satanic-druglords Brujeria, and grindcore trailblazers Napalm Death every night on the upcoming European Campaign for Musical Destruction tour.

“I think on a grind level, this tour lives up to its name,” says Embury. “I'm looking forward to this tour for many reasons, but having the chance to have a crack at three of the bands I play in every night for 25 shows is the kind of challenge that doesn't happen very often, so, let's go!”

We caught up with Embury to get the lowdown on the tour, how he's getting ready for it, and just how he plans to survive to see his 50th birthday.

How did this tour come about? And did you consider saying "no" at any point?

Well, this particular round of the CMD—Campaign for Musical Destruction—tour was going to have a slightly different line-up; this will be something we will revisit again maybe next year or when the time is right for another CMD tour. But with the time frame already locked in place for late April and early May, and since Napalm Death hadn't really done a headlining tour to support the Apex Predator album, we wanted to press ahead and do something that would befit the title of the tour. Brujeria were suggested at first, and sometimes I'm not always present in the band due to my commitments to Napalm, but obviously this wasn't going to be the case this time, so, hey, presto! The band were added and I guess I had to say I wondered about options right then. Iron Reagan were originally going to to be part of the tour but that, unfortunately, fell though and Power Trip came in at light speed, so that was cool; Napalm had just done a tour with those guys in the US Last November which had gone really well. Three members of Lock Up were already going to be on the tour bus so why, we all thought, should we not bring Kevin Sharp over and add Lock Up? The timing couldn't be better for the new Lock Up album, and rarely does this chance happen. I had done this kind of thing on festivals before but never a whole tour, but I thought, fuck it, you only live once; let's have a go at trying to make it all work.

Are the sets all back to back or are there other bands breaking it up?

There's a local opener, then Lock Up, then we have Power Trip, then Brujeria, and then Napalm Death.

How exactly do you plan to pull this off?

There were concerns from some of the team that this will be tough on me, and, yes, I guess when you look at it maybe it seems that way, but in reality, Lock Up's set will be a swift 30 minutes and then I get a breather when Power Trip are on for a spell before jumping in for Brujeria. I do, believe it or not, go to the gym once in a while, although it may not show. But to me, it's like one big general warm up and I feel that by the time I get to grind with Napalm I should be suitably in a very warmed-up state of insane grindophoria, so all will be well. Then after that, it will be straight to bed for rest with a late-night movie, as I don't drink anymore.

Are you preparing yourself either mentally or physically now, pre-tour?

Not right now, but prior to the CMD tour I am with Brujeria on a 12-date back-to-back Central American tour that starts in the middle of March. When that finishes in Argentina, four days later Napalm will start a 10-day-in-a-row tour of Russia, culminating in our first visit to Armenia, after which the CMD tour starts four days after that, on April 25, so I should be in fighting shape. I ended up playing 160 shows last year, which is not bad going. It's a frame of mind I feel comfortable in; believe me, running around after my three-year-old daughter is much more demanding [laughs]!

How does the concert experience differ for you being in Brujeria compared to Lock Up compared to Napalm Death?

Brujeria is more laid-back and groove-oriented, I suppose, although with the masks you have to breathe though your mouth a lot more, so that can become difficult, and with the mask in some ways it's more restricting, movement-wise. Lock Up is just a blast attack trying to keep up with [drummer Nicholas] Barker's breakneck torpedo rhythms, but at the same time he kind of coasts you along, as he always knows the songs better then any of us! He gets pissed off when I say that, but it's the truth, really. The first couple of shows will be nerve-wracking while we find our feet, but I like that in a way; it reminds me of the days where I never played that often; lots of nervous butterflies before stage time. Napalm Death is a well-oiled machine, as some of the songs I have been playing for 30 years. I tend to lose myself in the familiar noise of it all, as grindcore is a part of my subconscious 24 hours a day.

Any chance of this coming to North America? We'd really appreciate the chance to see you knocking yourself out doing this ridiculous onstage marathon in the name of grind over here.

You never know, really! At times, you see The Melvins and Fantomas do those family kind of tours and to me it makes sense but it can be viewed differently, I believe. This tour, I guess you could say, that stars just sort of aligned this way. I'm not too sure we would be making a habit of it, or would want to really, but I'll let you know after this tour!

Now, these aren't the only bands you're in... any chance of getting Venomous Concept on there as well, make it a nice even four Embury appearances?

Well, there are the four of us already there; we only have to fly in [bassist Danny] Lilker, wouldn't we? [laughs] Not this time, unfortunately.

Find out more about the Campaign for Musical Destruction 2017 tour here.

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EXCLUSIVE INTERVIEW & TRACK PREMIERE: METALLIC HARDCORE TRAILBLAZERS PULLING TEETH TO REISSUE CLASSIC "MARTYR IMMORTAL" LP; RETURN FOR ONE-OFF REUNION SHOW

Hopefully you held onto a least one tooth...

To celebrate the 10 anniversary of Martyr Immortal, Pulling Teeth -- a ferocious, restless entity that brilliantly Frankenstein-ed a slew of extreme music elements into a completely idiosyncratic whole during its stunning seven year run -- is dragging itself away from the cold embrace of the grave long enough to reissue that landmark metallic hardcore masterwork and perform the LP in its entirety at a one-night-only performance at this year's This Is Hardcore Fest. Get psyched. 

"Pulling Teeth was constantly evolving musically from its inception to its demise -- and that’s probably my favorite overall aspect of the band," the band's guitarist Dom Romeo tells Decibel. "For us Martyr Immortal came from a time and place where the only thing we cared about was sounding vicious, and playing as many shows as possible."

In the following in-depth, candid interview, Romeo -- now an official member of the legendary Integrity -- talks about the origins of Pulling Teeth's unlikely reunion, the band's unique and enduring legacy of brutality, tattoos memorializing crimes against music, metallic hardcore love connections, and more. 

First, however, enjoy this exclusive stream of a track off the upcoming remix/remaster, out this summer on A389 Recordings.

Alright, so the scheduling of this interview is no coincidence—it’s the infamous anniversary of your Mitch “never forget” tattoo. For the uninitiated, please do tell.

The evening in question took place in 2009 at a show in Massachusetts. During the song "Bloodwolves," there is a part that splits off into a twin-lead guitar harmony break. The stage was set. I set the riff up by playing the first half, and then it was Mitch's turn to join in. Time stood still as everyone twitched with anticipation and then…much to everyone’s chagrin, it happened. His glorious entry was replaced by a succession of the sourest notes ever emitted in the history of sound. A true crime against music.  

The "Never Forgive/Never Forget" tattoo was designed by Nate Newton (Converge /Doomriders) to commemorate that tragic sequence of notes and remind ourselves that we survived the horror.  The tattoo was applied to myself and our bassist Chris Kuhns at Ink Assassins Tattoo ship in Erie, Pennsylvania by an awesome dude that went by the name "Greg The Greek."

Despite the infamous evening of 3/23 taking place two years after Martyr Immortal's release, it remains an important date in Pulling Teeth folklore celebrated annually by friends and fans alike -- and remains to be a day abhorred by Mitch.

It was obviously the perfect day to announce our surprise for this year.

I recall reading an interview or two around Pulling Teeth’s breakup in which you said, basically, the parting was amicable, but you didn’t see any sort of reunion in the future. What changed?

Pulling Teeth ended with the best possible break-up scenario. We realized we accomplished everything we wanted to do as a band, and wanted to move on to pursue things like families, careers and new creative endeavors. Even though the band ended in January 2012, our internal band group texts continue to thrive to this very day. Only instead of band stuff, it’s been a continuous stream of dumb inside jokes. 

When I realized that Martyr Immortal was going to be 10 years old and thought it would be cool to give it a remix/remaster facelift, as it's been out of print for many years. Once everyone got around to chiming in about the remix, I suggested we play a show to commemorate the album’s tenth anniversary. We always said we'd never play, but truthfully we do miss being around each other and playing music together. We all concurred that commemorating Martyr's ten year anniversary was a good reason to hang out and play a one-off reunion show.

It’s a reflective moment—how do you feel your Pulling Teeth years affected your life moving forward? Do you think you’d be on the same path or was it a destiny shifting experience?

Pulling Teeth was a catalyst for many things for me both personally and musically.  Up until that point I had played in some cool bands and made some interesting records, but Pulling Teeth was the first time the entire vision was realized and executed in its entirety. 

On top of that I was really able to get my label A389 off the ground by seeing/hearing so many cool bands when I had the time to immerse myself in it.

Best of all though, I met my wife when her band at the time -- Gnarly Rueage -- played a show with us. So in a way, I have Pulling Teeth to indirectly thank for meeting her and eventually our slew of children and pets.

Has the process of revisiting these songs been interesting or at all revelatory? Do you appreciate any of the lyrics, music or spirit in a new way?

Looking back I admire the intensity, it was definitely more about intensity and less about mood like the later PT records were. I think the album held up musically and the lyrics are still relevant to these times. The songs/performances themselves still feel pretty timeless.

Pulling Teeth (Full Set) [The Last Show] from hate5six on Vimeo.

Talk to me about the remix/remaster.  

We had Kevin Bernsten/Developing Nations remix the original tapes and Brad Boatright/Audiosiege master them and it totally gave the recording a breath of new life.  It sounds like it could have been recorded yesterday.

What were you hoping to accomplish with it?

I was always fond of how frantic and rabid the original sounds, but also felt like it was super compressed.  This new mix breathes more and the guitars/drums sound more burly. Also the last track "Dismissed In Time (As Perfection Unwinds)" was originally omitted from the original vinyl pressing to make the CD worth getting. It’ll be on vinyl for the first time, and is best listened to alone in the dark with headphones on.

Artwork wise there was this weird part of the illustration that Jeff Beckman included in the top right that was airbrushed out of the final cover and covered up with the Pulling Teeth logo.  Hopefully we can find a way to include it in the reissue. We have a lot of cool photos from that era as well.

Now that the fuse is lit for this Martyr Immortal-centered TIHC Fest set, are you looking forward to the boom?

Yeah, it will be really fun. Hopefully anyone that never got to see us play, or bugging us for a reunion can make time to come out and have a good time for one night. Once it’s over, you won’t be hearing from us again any time soon.

Any other surprises you want to hint at?

The plan is to focus on the early era of the band and just do Martyr from top to bottom with select songs from ’Vicious Skin’ and maybe a cover or two. Being one of the few privy to knowing the entire lineup ahead of time, I can say going to be an incredible weekend.

I could probably guess at the answer, but why was TIHC the perfect venue for this one-time event?

Honestly there was a time and place that it would have been in Baltimore at A389 Bash. But nowadays I'm so invested in the other aspects of my life, I don't have time to oversee such a thing and make sure it gets handled properly. This is also why the label activity has slowed down considerably. 

As for TIHC, Joe has been a close friend of mine for decades and has always been a big supporter of Pulling Teeth. He was one of the first dudes to get us playing in front of bigger crowds etc. There was no question as to doing this show anywhere else other than TIHC. 

I think most underground heavy music fans are probably aware you’re in Integrity now and there’s a new record coming out on Relapse. (Decibel covered it here.) Is that something you applied your Pulling Teeth skill-set to?

Being in Integrity has been a dream come true for me. They’ve been my favorite band since I was a teenager, so getting to write the new LP was a huge deal. I think you can definitely hear a little bit of later Pulling Teeth in the weirder song structures, but this is a whole different animal. It was fun to make a record where I didn’t have to be conscious of how hard I’m ripping off Integrity, but at the same time there are more curveballs than any other music I’ve ever written. I’m really excited for everyone to hear it. 

What’s everyone else been up to?

Alex settled down to focus on tattooing. He’s currently floating around the south working in a bunch of shops. Mike moved to Denver after Pulling Teeth with his family and works as a graphic designer. Kuhns also moved to Denver for work and has a band called State Drugs. Tony Hare currently plays second guitar for Integrity with me. I haven’t talked to Danny P in quite some time but I’m told he’s happily living his life. Mitch plays in a crust band called Old Lines and gets really mad at me every time 03/23 comes around. Maybe this year will change that.

Any last thoughts on the meaning of Martyr Immortal as well as its longevity and lasting impact?

It’s always amazing to see so many people still care and enjoy the band. The number of Pulling Teeth tattoos we see posted on social media is just mind-blowing -- everything from the band’s logo to full blown back pieces of album covers on people all over the world. It’s incredible that anyone would care that much in the first place, but to have this happen years after the band ended is just unbelievable. I’m grateful to have been a part of creating something that connected with so many people.
 
It’s also amazing to meet people in current bands who were younger kids at Pulling Teeth shows back then. It was really cool to be able to give back and help some them start out on A389 before they went on to do amazing things on bigger labels. Bands such as Genocide Pact, YAITW, Gatecreeper and of course Full Of Hell whom are my favorite band going. Be sure to check out their new album Trumpeting Ecstasy. RIP Tim Butcher.

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