CARRION VAEL RELEASE "SLAY UTTERLY"

 

PRESS RELEASE:

Carrion Vael

Slay Utterly

Unique Leader Records

16 January 2026

Melodic death metal force of nature CARRION VAEL returns with a vengeance on their fifth album, Slay Utterly, to be released through Unique Leader Records on January 2026. Though raw and ferocious at their core, the band weaves intricate technical nuances throughout the album. Punchy riffs and rhythms drive the intensity home, while memorable lead guitar lines and powerful vocal performances leave a lasting impact. Lyrically, Slay Utterly goes above and beyond to immerse the listener in CARRION VAEL's fascination for history and true crime.

CARRION VAEL's technical prowess may take the spotlight on this album, but they are storytellers at their core. Each song on Slay Utterly explores the story of a different serial killer. The perspective jumps between the killer themselves, and the experiences of the victims. On the whole, the album presents a collection of stories delving into the psyches of famous axe murderers, slashers, and other uniquely violent killers throughout history. 

Slay Utterly opens with "19(fucking)78", which instantly sets the tone for the album's intensity and nuance. Featuring layers of technical guitar parts, slam riffs, and clean vocals, the band leaves no skill in their toolbox unused. Lyrically, the song is set in 1970s California; a particularly violent time in history, given the presence of the Hillside Stranglers. The lyrics contemplate issues of nature versus nurture, as well as an obsession with control by any means possible.

Opening with ominous Spanish guitar arpeggios, "Truth or Consequences" tells the story of David Parker Ray, best-known as the Toy Box Killer. Living in the remote deserts of New Mexico, Ray built a soundproof bunker on his land, where he would kidnap women who were passing through. His number of kills remains unknown, though estimates are high. 

"1912" then presents itself as one of the more theatrical and progressive songs on the album. The lyrics tell of an unsolved axe murder that shook the small town of Villisca, Iowa on a hot June night in 1912. To this day, no one knows who really committed the strange and horrific murders of two adults and six children, but speculations abound. The lyrics explore each speculation, varying from train-hopping sociopaths, scorned business associates, or even evangelical madmen.

Fast, heavy, and catchy, "30 on 9" is a quintessential CARRION VAEL track. It delves into various aspects of the mystery of Jack the Ripper, ranging from his true identity, his victims, and the bloody details of his murders. He was believed to have murdered Elizabeth Stride and Catherine Eddowes on September 30th, with this date lending the song its title. 

Guitarist Ryan Kuder shines on "40 Echoes Upon the Parlor", with rapid-fire riffs and blazing lead sections throughout. Clean vocals make a notable appearance in the choruses, wailing spectrally above a mass of blast beats and growls. The lyrics tell of numerous smaller axe murder cases, referencing Lizzie Borden most prominently.

"Lord of 74" opens almost innocently and uncharacteristically for the band, with delicate piano notes and the sound of water dripping in the background. Low, mournful clean vocals build an atmosphere of remorse and anguish until the song explodes into the fury that defines CARRION VAEL. The song tells the story of Joseph Kallinger, a schizophrenic shoe cobbler from Philadelphia who believed that God had sent him to murder every person on Earth... and that with the help of his children, he could complete this task.

"Bisection 47" embodies unrelenting rage from the first note to the last. The song explores the 1947 murder of Elizabeth Short, better known as the Black Dahlia. She was found cut in half (bisected) from the waist, and the identity of her killer remains unknown. The murder has left its mark on history as one of the biggest true crime mysteries to date. 

The final track, "Black Chariot", was originally recorded for CARRION VAEL's album God Killer (2020). As a fan favorite, the band decided to update the song and re-record it for Slay Utterly. Despite the fact that it was recorded for a different album, "Black Chariot" picks up right where "Bisection 47" left off, with layers of vicious snarls and stunning lead guitar work.

About CARRION VALE:

In 2017, brutal melodic death metal storytellers CARRION VAEL set out on a mission to understand disturbing events that may baffle the sane. Each album and each song explores an aspect of true crime history, often focusing on the stories of individual serial killers and their victims. Though this conceptual focus underpins CARRION VAEL's songwriting, they seek to fully utilize all of their skills and talents to ensure that each song develops the sound it needs to tell its story. The band released their first album, Resurrection of the Doomed, independently in 2017, then signed with HPGD Records and released their 2020 follow-up, God Killer. Subsequently, the band signed with Unique Leader Records and released Abhorrent Obsessions (2022) and Cannibals Anonymous (2024). 

With their fifth album, Slay Utterly, on the horizon, CARRION VAEL are set to continue this journey into the monstrous side of the human psyche. Vicious, but surprisingly poignant in just the right dose, Slay Utterly presents an anthology of serial killer stories from significant points in history. The album is certain to enthrall fans of horror, history, and true crime with its vivid portrayals of the minds of both murderers and victims. 

CARRION VALE is:

Travis Lawson Purcell - Vocals

Alex Arford - Bass

Trenton Limburg - Guitar

Ryan Kurder - Guitar

Matt Behner - Drums

Track listing:

1. 19(fucking)78

2. Truth or Consequences

3. 1912

4. 30 on 9

5. 40 Echoes Upon the Parlor

6. Lord of 74

7. Bisection 47

8. Black Chariot

https://www.facebook.com/CarrionVael

https://carrionvael.bandcamp.com/

https://www.instagram.com/carrionvael/

https://x.com/carrionvael666

SUNSWARM RELEASE DEBUT SINGLE "SUNSWARM"

 

PRESS RELEASE:

SUNSWARM, the emerging industrial noise act from Southampton, UK, has announced the release of its self-titled debut single, “Sunswarm.” Newly formed, the band arrives with a fully articulated vision that leans into heaviness not as spectacle, but as an unavoidable truth. Their sound is shaped by the weight and desolation of GODFLESH, the spiritual intensity of AMENRA, the confrontational extremity of THE BODY, and the cosmic dread of ORANSSI PAZUZU. SUNSWARM draw from these influences without imitation, creating an approach that is defined by early 90s industrial sampling techniques, scorched guitar textures, and vocals shaped by black-metal intensity, all fused into rhythms that feel more like movements of pressure than traditional song structures.

The single “Sunswarm” serves as the first expression of this identity. Its lyrics are minimal and ritualistic, functioning less as narrative and more as invocation: “Sunswarm. How to die. Sunswarm. Look into the light.” These words sit within an atmosphere that feels both claustrophobic and vast, the kind of sound designed to confront rather than reassure. The track is built to feel like a moment suspended between collapse and revelation, a tone that reflects the band’s view of the modern world and the emotional weight they aim to channel.

About SUNSWARM:

SUNSWARM is led by vocalist and bassist Rich Lee-Davis and vocalist and guitarist Neil Sutton, joined by additional contributors who extend the band’s sonic and visual reach. Together they construct an immersive environment where sound, light, and texture collide. Their creative world is defined by sensory overload, stark monochrome imagery, disorienting strobe work, and the feeling of being enclosed within an atmosphere that is both vast and hostile. Everything they create is intended to overwhelm, to blur the line between performance and encounter.

From their earliest ideas, SUNSWARM have operated from a place of complete self-definition, shaping a language of heaviness that goes beyond impact or aggression. They approach weight and intensity as emotional terrain, a landscape shaped by pressure, absence, and the darker edges of lived experience. Their debut single, “Sunswarm,” marks the first reveal of this landscape, a glimpse into the bleak and immersive world the band is building.

SUNSWARM is: 

Rich Lee-Davis - vocals, bass

Neil Sutton - vocals, guitar

Additional contributors (live and studio) - to be announced

Connect with SUNSWARM:

Website: https://sunswarm.bandcamp.com/

Bandcamp: https://sunswarm.bandcamp.com/

Facebook: https://www.facebook.com/sunswarmband

Instagram: https://www.instagram.com/sunswarmband/

YouTube: https://www.youtube.com/@SUNSWARM

DVM SPIRO RELEASE "MMXXVI GRAVE"

 

PRESS RELEASE:

DVM SPIRO

MMXXVI - Grave

My Kingdom Music

16 January 2026

Style: Atmospheric Doom Metal

Format: digiCD / digital

 

Street Date: January 16th, 2026

Facebook: https://www.facebook.com/dvmspiro

Instagram: https://www.instagram.com/dvmspiroband

 

Overview: DVM SPIRO is formed by NIHILI LOCUS members (Max, Roberto, Valeria), cult Italian band of the 90's, and they serves you the finest tunes of Atmospheric Doom Metal. The band has realized an extremely tormented album with a dark and arcane Doom Metal that blends with more atmospheric, horrific and at times classical elements. An overall feeling of dark desperation and loneliness, mixed with the natural funereal atmospheres of their Doom Metal, is what emerges from this opera. Heavy riffs, female vocals and deep growls, ancient atmospheres and classical music enrich a unique sound that will surely be a must-listen for fans of MY DYING BRIDE, FUNERAL, early PARADISE LOST and SHAPE OF DESPAIR! 

It's an indistinct death, where madness shines in the dark, without peeling frames or funereal paintings of intangible prisons. DVM SPIRO are back, and the magic of their sad art is ready to drag you into the deepest abysses.

Expect a great Apocalyptic and Atmospheric Doom Metal album.

credits

releases January 16, 2026

Recorded from 2019 to 2025 at Casa (Torino, ITA), Pink Noise (Torino, ITA), MDM Drammen (NOR)

Line-up: Valeria De Benedictis - guitar, clean vocals, keyboards, lyrics; Massimo Currò - bass; Roberto Ripollino - vocals, electric and acoustic guitar, ukulele, drums, virtual instruments

Artwork by Zanardo e Anna

Layout by Francesco Palumbo per MKM Graphix

Contact:

MY KINGDOM MUSIC

linktr.ee/mykingdommusic

DVM SPIRO links:

https://dvmspiro.bandcamp.com/music

https://www.facebook.com/dvmspiro/

https://www.instagram.com/dvmspiroband/

BLOODHUNTER SIGNS WITH RPM-ROAR RECORDS

 

PRESS RELEASE:

Spain's Melodic Death Metal Powerhouse BLOODHUNTER Signs Worldwide Deal With ROAR – A Division Of Reigning Phoenix Music!

Spain’s rising melodic death metal force BLOODHUNTER have announced their signing of a worldwide record deal with ROAR – A Division of Reigning Phoenix Music!

With a sound that fuses razor-sharp riffing, sweeping melodies and a fierce vocal attack by Diva Satánica, BLOODHUNTER have spent the last years carving out their place in the global extreme-metal landscape. From their early underground buzz to the breakout impact of Knowledge Was the Price, the Galician horde has consistently pushed forward with grit and vision.

Now they enter their next era with ROAR at their side, a move that sets the stage for an even bigger worldwide push. And judging by the band’s own words, the upcoming new album is something fans should be bracing for:

“𝘞𝘦 𝘢𝘳𝘦 𝘵𝘩𝘳𝘪𝘭𝘭𝘦𝘥 𝘵𝘰 𝘢𝘯𝘯𝘰𝘶𝘯𝘤𝘦 𝘵𝘩𝘢𝘵 𝘸𝘦 𝘢𝘳𝘦 𝘯𝘰𝘸 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘙𝘦𝘪𝘨𝘯𝘪𝘯𝘨 𝘗𝘩𝘰𝘦𝘯𝘪𝘹 𝘧𝘢𝘮𝘪𝘭𝘺 𝘢𝘯𝘥 𝘵𝘩𝘢𝘵 𝘰𝘶𝘳 𝘯𝘦𝘸 𝘢𝘭𝘣𝘶𝘮 𝘸𝘪𝘭𝘭 𝘣𝘦 𝘳𝘦𝘭𝘦𝘢𝘴𝘦𝘥 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦𝘪𝘳 𝘥𝘪𝘷𝘪𝘴𝘪𝘰𝘯 𝘙𝘗𝘔 𝘙𝘖𝘈𝘙. 𝘞𝘦 𝘤𝘢𝘯’𝘵 𝘸𝘢𝘪𝘵 𝘵𝘰 𝘴𝘩𝘢𝘳𝘦 𝘵𝘩𝘪𝘴 𝘯𝘦𝘸 𝘤𝘩𝘢𝘱𝘵𝘦𝘳 𝘸𝘪𝘵𝘩 𝘺𝘰𝘶 𝘴𝘰 𝘴𝘵𝘢𝘺 𝘵𝘶𝘯𝘦𝘥 𝘵𝘰 𝘬𝘯𝘰𝘸 𝘮𝘰𝘳𝘦 𝘢𝘣𝘰𝘶𝘵 𝘸𝘩𝘢𝘵’𝘴 𝘢𝘣𝘰𝘶𝘵 𝘵𝘰 𝘤𝘰𝘮𝘦!

𝘛𝘩𝘪𝘴 𝘢𝘭𝘣𝘶𝘮 𝘱𝘶𝘴𝘩𝘦𝘥 𝘶𝘴 𝘩𝘢𝘳𝘥𝘦𝘳 𝘵𝘩𝘢𝘯 𝘢𝘯𝘺𝘵𝘩𝘪𝘯𝘨 𝘸𝘦’𝘷𝘦 𝘥𝘰𝘯𝘦 𝘣𝘦𝘧𝘰𝘳𝘦 — 𝘪𝘵’𝘴 𝘰𝘶𝘳 𝘮𝘰𝘴𝘵 𝘢𝘮𝘣𝘪𝘵𝘪𝘰𝘶𝘴, 𝘪𝘯𝘵𝘦𝘯𝘴𝘦 𝘢𝘯𝘥 𝘴𝘵𝘳𝘢𝘪𝘨𝘩𝘵-𝘧𝘰𝘳𝘸𝘢𝘳𝘥 𝘳𝘦𝘭𝘦𝘢𝘴𝘦 𝘵𝘰 𝘥𝘢𝘵𝘦. 𝘞𝘦 𝘴𝘵𝘦𝘱𝘱𝘦𝘥 𝘰𝘶𝘵 𝘰𝘧 𝘰𝘶𝘳 𝘤𝘰𝘮𝘧𝘰𝘳𝘵 𝘻𝘰𝘯𝘦, 𝘴𝘩𝘢𝘳𝘱𝘦𝘯𝘦𝘥 𝘰𝘶𝘳 𝘴𝘰𝘶𝘯𝘥 𝘢𝘯𝘥 𝘦𝘯𝘥𝘦𝘥 𝘶𝘱 𝘸𝘪𝘵𝘩 𝘢 𝘳𝘦𝘤𝘰𝘳𝘥 𝘵𝘩𝘢𝘵 𝘵𝘳𝘶𝘭𝘺 𝘧𝘦𝘦𝘭𝘴 𝘭𝘪𝘬𝘦 𝘰𝘶𝘳 𝘯𝘦𝘹𝘵 𝘴𝘵𝘦𝘱. 𝘞𝘦 𝘤𝘢𝘯’𝘵 𝘸𝘢𝘪𝘵 𝘧𝘰𝘳 𝘺𝘰𝘶 𝘵𝘰 𝘩𝘦𝘢𝘳 𝘪𝘵!”

Joining forces with ROAR marks a fresh global momentum for BLOODHUNTER, who are known for their crushing live presence and their ability to blend technical edge with punchy songwriting. More news about their hotly anticipated new album will follow soon, and fans can expect a rollout that matches the ambition the band poured into the studio. Until then, BLOODHUNTER are sharpening their claws. Something big is coming!

For More Info Visit: 

Official Site: https://bloodhunter.rpm.link/siteFB

Facebook: https://bloodhunter.rpm.link/facebookFB

Instagram: https://bloodhunter.rpm.link/instagramFB

X: https://bloodhunter.rpm.link/twitterFB

TikTok: https://bloodhunter.rpm.link/tiktokFB

Spotify: https://bloodhunter.rpm.link/spotifyFB

Apple Music: https://bloodhunter.rpm.link/appleFB

BLOODHUNTER is:

Diva Satanica – Vocals 

Dani Arcos – Guitar

G. Starless – Guitar 

Adrián Perales – Drums 

Fabián Tejeda – Bass

SIBYL RELEASE "DESPERATIONS OF HALLOW MASSES"

 

PRESS RELEASE:

Sibyl Unleash Debut Single “Just Know That I Care” – First Strike from EP Desperations of Hollow Masses- Out Now!

Memphis, TN – Progressive blackened grind trio Sibyl have officially dropped their crushing debut single, “Just Know That I Care.” The track is available now on Bandcamp: https://sibylofficial.bandcamp.com/track/just-know-that-i-care 

Sibyl’s sound is a relentless collision of grindcore chaos and black metal atmosphere , threaded with eerie progressive elements that set them apart in the extreme music landscape. “Just Know That I Care” serves as the first strike leading into their highly anticipated debut EP, Desperations of Hollow Masses , dropping August 24, 2025 .

Produced by guitarist Ace Williams , the single showcases the trio at peak intensity:

Jordan Wilkinson – vocals/lyrics

Ace Williams – guitars/production

Jeff Dougherty – drums

Rooted in themes of desperation, futility, and human decay , Sibyl channel unrelenting energy into a sound that is both suffocating and transcendent . Fans of extreme music seeking grindcore speed fused with black metal venom will find themselves fully immersed in Sibyl’s storm.

Stream “Just Know That I Care” now: https://sibylofficial.bandcamp.com/track/just-know-that-i-care

Follow the band at these links:

Facebook: https://www.facebook.com/share/1LpcPiaw4N/?mibextid=wwXIfr

Instagram: https://www.instagram.com/sibyl.901

Bandcamp: https://sibylofficial.bandcamp.com/album/desperation-of-hallow-masses

Spotify: https://open.spotify.com/artist/4ziYMEmYEDjWe5uc0fqo34

Apple Music: https://music.apple.com/us/artist/sibyl/1803664438

DistroKid: https://distrokid.com/hyperfollow/sibyl5/desperation-of-hollow-masses

AGENBITE MISERY RELEASE "REMORSE OF CONSCIENCE"

 

PRESS RELEASE:

AGENBITE MISERY is a New Hampshire-based trio whose debut album Remorse of Conscience is one of the most ambitious concept records to emerge from the modern extreme metal underground. Formed in late 2022 by guitarist Sam Graff, bassist Cam Netland, and drummer Adam Richards, the band began with a deceptively simple idea: to adapt James Joyce’s Ulysses into an experimental metal album. What emerged from that idea is a 55-minute odyssey of layered sonic aggression and literary depth, an album that blends blackened sludge, dissonant death metal, post-punk, ambient drone, and more into a singular, genre-defying statement of purpose.

The name AGENBITE MISERY is itself a reflection of the band’s literary roots, pulled from a line in Ulysses that references the 14th-century English devotional text Agenbite of Inwit. The phrase, literally “again-bite of inner wit,” or modernized as “remorse of conscience," became the perfect thematic and philosophical framework for an album steeped in grief, alienation, and the search for meaning in modern life. The band’s name was chosen because it reflects the deep, biting sorrow that pervades the novel and their music. Though the original pronunciation might have been “ah-jehn-bite,” the band opts for a harder, contemporary “ae-ghen-bite” as a nod to their mission of dragging ancient texts into the present.

Remorse of Conscience was written over the course of 2023 and recorded in 2024, entirely self-produced by the band, with mixing by Eric Sauter and mastering by Brad Boatright. The recording sessions were a direct extension of the trio’s collaborative ethos: a commitment to honesty, maximalism, and transformation. Each of the album’s eight songs adapts a chapter from Ulysses, using lyrics pulled directly from Joyce’s prose and reshaping them into brutal, beautiful sonic forms. The band sees each track not merely as a song but as a new translation, an attempt to convert stream-of-consciousness literature into aural energy.

The album opens with "Telemachean Echoes," a short, grinding burst of power violence and hardcore chaos that adapts the novel’s opening scene: Stephen Daedalus waking from a bitter dream of guilt and loss. The lyrics, shouted and whispered, move from internal shame to furious defiance: “Hyperborean scrotum tightening mother killer” to the repeated cry of “Let me be and let me live, Agenbite of Inwit.” It’s a blistering introduction to the world AGENBITE MISERY has constructed.

From there, the album spirals into "Cascara Sagrada," a disorienting piece of blackened death metal that explores the quiet horror of Leopold Bloom’s morning routine. Built on warped time signatures, sliding guitars, and sections that move from Slint-inspired indie to full-blown noise assault, the song captures the mundane terror at the heart of Bloom’s lonely life. Lyrics range from meditations on defecation to biblical hallucinations: “Captivity to captivity, multiplying dying being born everywhere, the grey sunken cunt of the world.”

The centerpiece of the album’s first half is the 13-minute "A Charitable View of Temporary Insanity," a devastating doom-sludge epic based on Bloom’s experience at a funeral. Lurching between minimal ambient textures and towering funeral doom riffs, the song reflects on loss, failure, and the strange bureaucracy of death. The vocals echo with grief: “If little Rudy lived, if I had seen him grown, my son, me and his eyes,” while the final line offers a glimmer of hope: “The blood sinking in gives earth new life.”

At the edge of genre, "Whatness of Allhorse" reimagines post-punk and industrial through a metal lens. With deadpan vocals, massive drum machines, horror-synth textures, and a blackgaze-style climax, the track adapts a scene where Stephen Daedalus debates Shakespearean theory with literary elites. The chaotic freedom of that conversation translates into a song full of bold choices and layered absurdity. “He left her, and gained the world of man,” we hear before the song explodes into shimmering tremolo guitars and a final scream: “But I’ll survive.”

"Bellwether and Swine" brings the record back to pure metal, a pummeling, riff-driven anthem inspired by Bloom’s argument with a xenophobic Irish nationalist. The song weaponizes the tropes of epic metal to mock toxic patriotism, stacking sludgy power chords over blast beats, while spoken word passages echo Old Testament imagery. The narrator’s bile is palpable: “Begob, he got as far as the door. Begob, always some bloody clown or other.”

With "Circe," the band returns to black metal, this time with a psychedelic bent. The chapter in Ulysses this track adapts is a hallucinatory descent into Dublin’s red-light district. The song mimics this spiral with hypnotic guitar lines, overlapping time signatures, and an atmosphere of dread. At the climax, we’re given one of the novel’s most haunting images: “A white lambkin peeps out of his waistcoat pocket.” It’s a fever dream of guilt and memory.

"The Twice-Charred Paths of Musing Disciples" offers a brief, contemplative interlude. Inspired by the penultimate chapter of Ulysses, the piece uses dungeon synth textures and ambient layering to conjure the quiet moment when Bloom invites Stephen to stay the night, and is turned down. The central melodic motif is taken from actual sheet music printed in the text, adapted into a modern drone setting.

The record closes with the monolithic "Mnesterophonia," a sprawling, droning epic that mirrors the novel’s final chapter, told from Molly Bloom’s perspective. Drawing on indie rock, doom, and freeform noise, the track builds from intimate to immense. The lyrics pull from Molly’s internal monologue as she drifts into sleep: “When I put the rose in my hair and how he kissed me and I thought well as well him as another…” The final lines of both book and album, “Yes, I will, Yes”, are screamed over a wall of sound, sealing the record with one of the most powerful emotional moments in modernist literature.

Though Remorse of Conscience is steeped in literary references, its emotional core is universal. At every turn, AGENBITE MISERY seeks to translate not just words but the raw human experience: grief, desire, disconnection, hope. In doing so, they’ve created something greater than a concept album, it’s a reinvention of what metal can do.

There is no other band like AGENBITE MISERY, and no album like Remorse of Conscience. This is a project that refuses to compromise, refuses to simplify, and refuses to be easily categorized. Instead, it dares to ask the same question Ulysses once did: can we still find truth, beauty, or meaning in the wreckage of the modern world? And their answer, it seems, is a resounding Yes. Yes, we will. Yes.

About AGENBITE MISERY:

AGENBITE MISERY is a New Hampshire-based trio that fuses literary ambition with the visceral force of experimental metal. Formed in 2022 by guitarist Sam Graff, bassist Cam Netland, and drummer Adam Richards, the band emerged from a shared academic background in literature and a mutual devotion to the most extreme and boundary-pushing corners of heavy music.

At its core, AGENBITE MISERY is a project rooted in transformation. Their work doesn’t merely incorporate influences, it dismantles them, reshapes them, and recontextualizes them within a vision that is as cerebral as it is punishing. Their sound weaves together elements of black metal, sludge, death metal, post-punk, ambient, and noise rock, unified not by style but by intent: to confront, to immerse, and to challenge.

Individually, the members bring a history of musical experimentation: Sam Graff and Adam Richards were longtime collaborators in the avant-garde project UNDER GREEN SUNS and the Boston metalcore outfit VICARIUM, while Cam Netland previously fronted the Connecticut stoner/black metal band COAGULATE. Together, they’ve forged something entirely distinct, a collective voice that draws from their diverse histories but refuses to be defined by any one genre or scene.

AGENBITE MISERY exists at the edge of metal and the margins of modern art, translating abstract ideas into concrete sound with unrelenting force. Whether performing live or recording in isolation, their ethos remains constant: dig deeper, aim higher, and never repeat what has already been done.

AGENBITE MISERY is:

Sam Graff – Guitars / Vocals / Synth

Cam Netland – Bass / Vocals

Adam Richards – Drums / Vocals

Connect with AGENBITE MISERY:

Bandcamp: https://agenbitemisery.bandcamp.com

Facebook: https://www.facebook.com/profile.php?id=61574211514876#

Instagram: https://www.instagram.com/agenbitemisery/?hl=en

YouTube: https://www.youtube.com/channel/UCwjOZilhkqTRkZHpJJwlbhw

Spotify: https://open.spotify.com/artist/6dYQgCtNvpvNWwfQ06LQQZ

Apple Music: https://music.apple.com/us/artist/agenbite-misery/1716987132

TikTok: https://www.tiktok.com/@agenbite.misery

VIDEO PREMIERE: SIDIAN "ELEGIAC, ABSENT CATHARSIS"

 

PRESS RELEASE:

Sidian returns with force on their new single, “Elegiac, Absent Catharsis,” heralding the long-awaited arrival of the band’s debut full-length—set for a Limited Edition CD release on December 26, 2025 via Rebel Pyro Musick. Blending a haunting atmosphere with razor-edged technical precision, the track captures the band’s evolution from their early demo days through their post-hiatus resurgence.

Check the video here:

Fans may recall Sidian’s 2019 EP Carry My Bones and their pre-2012 demo cycle (“Yersinia Pestis,” “Tombs,” “Anamorphosis,” and “Where the Sun is Silent”), which first hinted at the band’s unique melodic extremity. Their 2012 studio return—“Eternal Bloom of Lamenting Dawn”—recorded with producer Zack Ohren (Castle Ultimate Studios) and featuring drummer Alex Bent (Trivium/Testament/Arkaik), marked a pivotal leap in songwriting ambition.

“Elegiac, Absent Catharsis” continues that progression—somber, searing, and cinematic—offering a powerful first glimpse into Sidian’s fully realized sound.

Wyatt / Sidian had the following to say regarding 'Elegiac, Absent Catharsis':

Right to the point — this song’s for Danny Farhoud, for whom the album is also dedicated. An imperfect eulogy, perhaps. He wasn’t just a friend — he was the closest thing to my brother, especially in spirit. We went through a lot of good and bad together, and when he died, it hit in a way I honestly still don’t fully know how to put into words

I wrote this trying to make sense of all of that… the calm moments, the messed-up moments, the guilt, the clarity — everything that made him who he was to me. A lot of it is just me trying to sit with him again in whatever way I still can. That “garden” in the song is literal — where we came up with the first ideas that would become Sidian, but also how I picture those quieter memories where he felt the most like himself, and where I’d like to imagine him now.

Danny had this softness to him that everyone knew, this contagious laughter that if you knew him and you were reading this, you could easily hear it in your head. I didn’t want that part of him to just disappear. Even now, when it feels like my world goes silent for a second, I catch myself thinking of the really important moments that shaped me, and he was always right there.

This ended up being my attempt to carry him forward in a way a bit more permanent than just memories, imbuing it with the actual last riff we ever wrote together. It’s for the version of him that finally got to breathe, and for the version of me that’s still trying to figure out how to live with the space he left behind."

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