Newly-formed Chicago outfit DETHBEDS has issued the lead track to their impending debut LP, Dungeon Scum, which the band will self-release this Fall. The track “Snake Charmer” finds its way into the public domain through a premiere at New Noise Magazine.
Offers DETHBEDS guitarist Patrick Dignan on “Snake Charmer” as the lead track and single for the record, “It’s a good representation of us as a band. It’s short, fast, and loud. You’ll get it in about sixty seconds.”
Hear DETHBEDS’ charged-up “Snake Charmer” at New Noise Magazine RIGHT HERE.
DETHBEDS will independently release Dungeon Scum on 12″ vinyl, cassette, and digital formats on October 14th. The band is playing regionally in advance of the release of the new album, at which time they’ll embark on a much more extensive tour run supporting the record. Stand by for additional audio samples, a new video, preorders, tour dates, and more to be issued in the coming weeks.
9/08/2016 Beat Kitchen – Chicago, IL w/ Ghost Bath, Frosthelm, Numenorean, Vukari [info]
A newly-formed outfit, DETHBEDS unites a host of influence from a wide array of musical backgrounds, resulting in a volatile concoction of angular metallic, punk-fueled hardcore. Formed in Owosso, Michigan, the band recently finalized a new lineup and located to Chicago, a city in which they had communed and performed together with their prior acts. Collectively hailing from a varied range of experiences within Midwest metal, punk, hip hop, and psych scenes, DETHBEDS marries this diversified collective’s most explosive tactics into a relentlessly energetic, spastic brew of music heavily influenced yet far from limited to the output of influential acts like Converge, The Dillinger Escape Plan, Refused, Botch, and others. Most of Dungeon Scum was written in Michigan, before the band was a fully realized project. Following their migration to Chicago, the band fine-tuned the tracks and recorded the album with Adam Stilson at Decade Music Studios, an amazing studio actually located inside of a DIY music venue called The Observatory, after which the album was mastered by Collin Jordan at The Boiler Room, and completed with cover art by Tom Jenkins at Black Eagle Press. The record’s seven-track attack takes place within a seventeen-minute spread, resulting in a rabid, explosive delivery.