Adelaide thrashers Alium are relatively new to the Australian metal scene, having yet to play …
A darkness runs through the output of Canberra band, Deathbeds.
MORE: The Amity Affliction: Bringing Misery Home // METALLICA: Return To Oz For Massive October Tour // SLAYER: Total Destruction Down Under One Last Time // BEHEMOTH: This Stage Is My Domain REVIEWS: CHILDREN OF BODOM: Hexed // IN FLAMES: I, The Mask
In their 2018 EP Death, the molten metal outfit took measures to get their name out there using a sound they weren’t sure suited them–now with the release of a brand new single, Biggest Sin Of All, Deathbeds find their feet on more solid ground. “[In] Death, some of the songs were written in 2015,” explain vocalist David Mulvaney. “Our guitarist [Anthony Hyde] he writes everything–the guitars, drums, bass–Death EP had a few songs on there that were legit three years old, old school metalcore–now we’ve found our sound.
Between 2015 and now, speaking on behalf of Hyde, Mulvaney explains the developments the Deathbeds guitarist has undergone to improve his songwriting–a large part of that is a focus on a certain theme. The new single is just one track from a propose eight-track concept album. “It’s called Sinner,” says Mulvaney, “It’s about the seven deadly sins and a priest being corrupted.
“All of us sat around and gave him [Hyde] each a song name, the meaning of a song, and gave him reference in descriptive words as to what that song should sound like.
“I think he was a little bit nervous when we first started writing but now the band’s gotten quite serious, he’s opened up and he’s putting all his effort into it, which is why the songs so relevant to today’s metal sound.”
There’s a very high level of trust and understanding among Deathbeds to be able to convey such detailed and serious ideas to just one guy in a band of six members. “Anthony and I started this band,” says Mulvaney. “He’s probably the most talented in the band, he’s the best out of everything.
My personal point of view is like back in the 90s, a lot of bands did albums about religion and it was a rebellious subject.
[ David Mulvaney ]
“We put all our faith in him.”
Because this album is so centred on religion, Deathbeds have gone for some orchestral sampling to help boost the secular sensation in their music. “We wanted it to sound really churchy ad ye olde religion sort of stuff. We’re not religious but we thought it would be easier to write a concept album. From now on all our albums will be concept albums.”
Concept albums are a really big risk at the best of times, let a lone for an up and coming band. “That’s what everyone says,” begins Mulvaney. “We’ve told everyone this is a concept album and everyone’s like ‘Why?’ But we just wanted to do something cool.
“All the songs are in chronological order to the [appearance] of the sin– the last song is Born Again Heretic, the renouncement of the character’s religion. The whole song is him abusing each sin.
“Kit [Samin], our keyboardist, when she sings in the album she’s playing the victim, always has opposing lyrics to my lyrics.”
These characters Deathbeds have developed in this concept album are, Mulvaney says, by no means similar to the band in life. “It’s all fabricated,” he says, “No one’s going to relate to the story at all because it’s set in medieval times when towns really relied on religion. It’s not modern because nowadays, religion is very touchy.
“My personal point of view is like back in the 90s, a lot of bands did albums about religion and it was a rebellious subject. Bands today have themes about the environment, which is still a good cause, but I feel no one does stuff about religion.
“We’ve had this concept for over year, I feel it’s a concept bands don’t do much anymore.”
Before the question is even finished, Mulvaney is affirming the band’s choice of thematic narrative has relevance today. “There’s always gonna be people out there who are going to relate to it because they don’t like religion. “We don’t hate religion, it’s not a hate on religion, it’s just showing that religion, especially back in those days, religion was powerful and people used it to their advantage for corruption.
“Every song on this album sounds completely different. Some are old school Northlane, other are real djenty–each song represents each sin. We’re really hoping this album gets us around Australia, we’ve worked really hard on it.”