In less than a week, DESTROYING THE DEVOID — the progressive death metal venture led by Craig Peters of Deeds Of Flesh and formerly Arkaik — will drop the cinematic brutality of Paramnesia. The seven-track, forty-six-minute Paramnesia was engineered and produced by Peters at Carnivale Nocturno Studios with all mixing and mastering handled by Zack Ohren (Deeds of Flesh, Arkaik, Suffocation et al) at Castle Ultimate Productions and cover art by Frank Barrera.
As a precursor to its release, today the band offers up “Carnivale Nocturno” for public consumption. “The song ‘Carnivale Nocturno’ is a very dark song that deals with humanity and how we see ourselves,” elaborates Peters of the track. “Television and magazines project the image of what beauty is and what it is to be successful. This song is about self-empowerment and overcoming our own darkest emotions.”
Hear “Carnivale Nocturno” at THIS LOCATION where you can also sample “The Endless Cycles Of Lunacy” initially premiered via Decibel Magazine.
Paramnesia will be released via Unique Leader Records on August 19th, 2016. Preorders are available at THIS LOCATION.
Paramnesia is a challenging and ultimately thrilling listen that takes its listeners through a shadowy exploration of the human psyche, specifically how an individual’s personality and perception of the world are molded and eventually dictated by their personal relationships and experiences. Through repeated interactions, once unique strangers gradually morph into fragmented pieces of one another, now completely interspersed. This is essentially paramnesia: the inability to distinguish between fact and fiction.
Upon their premiere of “The Endless Cycles Of Lunacy” Decibel wrote, “We like our Deeds Of Flesh-styled brutal tech death metal plenty around the Decibel offices. And we have a soft spot for the atmospheric/symphonic DM approach of Septicflesh and Dimmu Borgir… What we didn’t know was how much we dig those two micro-genres fashioned together! Fortunately, Deeds Of Flesh guitarist Craig Peters knows us better than anyone, so he formed DESTROYING THE DEVOID just two years ago as way to express his more melodic, progressive — dare we type – ‘film score-y’ side, while still adhering the framework of the death metals.” In a recent 8.5/10 review, Dead Rhetoric issues, “An album more interesting than your standard extreme act, Paramnesia should fill the needs of death metal fans of the technical and progressive varieties. Cinematic elements, brooding atmosphere, and crushing death metal combine in a way that is rewarding to listen to, yet appeals from the get-go.” Glacially Music echoes the sentiment, “Weaving in and out of technical death metal are beautiful landscapes of sound. This is anything but your run of the mill death metal or your run of the mill progressive music. Don’t just listen to this album, hear it.” Adds Explicitly Intense in a glowing assessment of the record “Yes, this band is heavy and ultra extreme throughout the seven prime cuts, but they’re interestingly put together, with heavy atmosphere lending to so much emotion, tears want to fall from your eyes. Craig Peters… has done an outstanding job putting together songs that fall into the thinking person’s category yet can bring a huge burst of excitement to diehard death metal freaks. Imagine the atmospheric darkness and symphonic parts of Augury meeting the superb, classically-crafted musicianship of progressive metallers Adagio, with a sprinkle of Cynic thrown in for good measure.”
DESTROYING THE DEVOID was forged in 2014 by Peters as an outlet to compose material beyond the traditional confines of technical death metal. “The song writing started back in the Summer of 2012,” relays Peters, “At first it just began as a couple of songs that eventually evolved over time. Being a huge fan of orchestral music and film scores I definitely wanted the music to have a deep and emotional impact. These songs are dark, aggressive and very thematic. While at the music’s core has a very progressive death metal sound, the songs flow in and out of many stylistic changes ranging from blackened death metal to more melancholic and ethereal passages and some very intense instrumental sections that will leave your head spinning.”