interview

Before we dive into the new record, I want to start with something broader. Looking back at the years you’ve spent building Stabbing from the ground up, what do you feel has changed the most in the way you approach your craft, both as a vocalist and as someone shaping the identity of a band within a very demanding genre?

For me personally I guess I’ve just grown more comfortable and familiar with the writing and recording process over the years, and that has really helped me going into it with confidence and more direction.

In the early days you were pulling directly from the 90s and early 2000s brutal death metal you loved, but the shift from the first demo to Eon of Obscenity feels like a real transformation. Was there a specific moment when you realised the band had moved beyond influence and started operating with its own voice and purpose?

I’m not sure, I honestly feel like the shift in the sound over the years came mostly from the way we recorded. The first demo and EP were self-recorded and mixed by us at home in a more DIY fashion, and I kinda think that contributed to the old school sound. Starting with the first full length we recorded most of it in a professional studio setting. I think when it comes to our sound and influence in general, we’ve always pulled inspiration from a wide variety of bands/artists and I think over time it evolved into a bit of a melting pot.

Bridget, you’ve said you weren’t fully satisfied with your vocal performance on the previous album. What specific changes or techniques did you focus on while preparing for Eon of Obscenity?

Yeah, I honestly think my vocals on the last album are mostly boring in hindsight. I was nervous as it was my first time in a real studio and I was too focused on perfectionism and not “messing up” that I think it kinda felt flat in a lot of ways. I wanted to make sure what I did on this album was an improvement from that and tried to mix it up a bit stylistically, and also tried to relax a bit more during recording. I do think it helped some.

When you’re writing for Stabbing, how do brutality, authenticity, and your own emotional state intersect? In other words, what does brutality mean to you artistically, and how do you stay true to yourself within extreme metal while channeling whatever you’re feeling at the time?

I’ve definitely channeled a lot of anger into this music over the years. I think that’s one of the most prominent emotions when it comes to death metal. All of my favorite death metal songs or albums sound especially “pissed off”, or even “evil” usually.

After listening to the new record I was thoroughly impressed with the vocal performance. Your ability to move between gutturals and more alien, chittering textures is a defining part of the new record. How did you develop that range, and would you say your vocal style is a character, an extension of yourself, or something separate?

Thank you! I’m still working on perfecting some of those techniques really. The way I like to do vocals has always kind of been a creative outlet for me, I think. 

Eon of Obscenity keeps the grit of classic brutal death metal while still sounding sharply intentional. When you were shaping the production, what specific qualities did you refuse to polish out, and what elements did you decide needed precision in order to push the album forward rather than backward into nostalgia?

Yeah we specifically wanted to avoid sounding too “polished” or “clean” with the production, for the most part. I think the best bdm sounds more dirty and gritty. I think the guitar tone in the album is pretty on point in that respect. It’s hard to emulate an older sound with modern equipment but I think they did a pretty good job. 

The cover for Eon of Obscenity is visually grotesque and layered with torment. What was the conceptual starting point for this piece, and how closely does it reflect the emotional or thematic core of the album itself?

Pretty much exactly that. I told the artist we wanted something that looked overall grotesque and obscene, and just overall brutal because that’s what I think we were aiming for with the album.

Younger bands are already citing Stabbing as an influence. How does it feel to become part of the next wave of brutal death metal?

That’s pretty crazy to me, I think it all comes down to just being in the right place at the right time? I kinda knew after the big resurgence of OSDM I was seeing around 2016-2019 that bdm would inevitably be next in line, but I had no idea it would gain the popularity it has. It’s like an entire new generation of bdm fans and bands which is really cool.

What do you think defines this new generation of slam and brutal death metal bands compared to the 90s and early 2000s era you grew up admiring?

To be honest I think the new generation of bands are kinda going for the same thing. I really think it was just easier than ever for the new gen to discover those old bands thanks to the internet and it seems like a lot of them wanna write like that. I see a lot of Orchidectomy or Enmity hype lately.

What do you hope listeners recognise as the core of Stabbing’s identity?

I dunno, that’s hard for me to say, I guess I just hope they like it and feel it’s an improvement from the last album like I do. Hah

With Eon of Obscenity setting a new standard for you, what direction do you want the band to push into next, both in terms of creative risks and the role you hope this album plays in the future of brutal death metal?

I almost don’t think there’s anywhere for the sound to go from here. I mean, it definitely can, but bands get criticized when they change their sound and bands also get criticized when they always sound the same. I guess it all comes down to preference. Me personally though, I think a lot of my favorite bands are some of the most consistent ones over the years that never stray too far from their signature sound. Dying Fetus, Immolation, Defeated Sanity to name a few. 

When you imagine someone discovering Stabbing for the first time through this album, what is the feeling or impression you hope stays with them long after the record ends?

My favorite feeling when I find a new death metal band is “damn this shit is brutal” like 30 seconds in, hah. I guess I hope people get that same feeling and wanna come back to it after they hear it for the first time.

If you have one final message for readers and fans what would it be?

Thanks so much to everyone for the support over the years, and I hope y’all like what we did here!!

Review: Stabbing – Eon Of Obscenity

Release date and label: Eon Of Obscenity out January 30th, 2026 via Century Media Records