Stabbing is writing a new chapter.
After making a name for themselves on the American and then global Brutal Death Metal scene, the band led by Bridget Lynch (vocals, Pyosisified, ex-Nephilim Grinder, ex-Suffocation live), Marvin Ruiz (guitar, Devourment, Nephilim Grinder), Matt Day (bass, Architectural Genocide) and Aron Hetsko (drums, Enterprise Earth, The Xebellian Triangle) has signed with Century Media Records, with whom they are releasing their second album, Eon Of Obscenity.
We get off to a flying start with Rotting Eternal, a massive opening track that effortlessly combines thick riffs with a few technical flourishes, while Bridget treats us to her devastating growls. The track is short but provides a quality introduction before moving on to Inhuman Torture Chamber, which picks up the pace and even offers devastating gravity blast sections linked to groovy mosh parts and sharp harmonics that punctuate the explosions of rage. Masticate the Subdued immediately follows and crushes us in turn with its elaborate riffs, while the roars multiply, calling for more massive passages borrowed from Slam Death and its incitements to break your neck. Then, with Eon of Obscenity, the eponymous track, the album continues its quest for infinite violence. Unsurprisingly, the riffs hammer us and only stop to start again with a vengeance before Reborn to Kill Once More takes its place and begins to batter us at its own pace, skillfully lining up catchy patterns with heaviness and well-placed accelerations, especially during the jerky finale. Ruminations follows with a short dose of slightly dissonant but effective riffs before welcoming Ricky Myers (Suffocation, Disgorge…) for the break in Nauseating Composition, which accompanies the vocalist’s roars as she and her bandmates strive to make this track one of the most explosive on the album. There is no let-up during the transition to Their Melted Remains, which immediately follows with its rhythms and shrill elements contrasting with the solid blast beats, but the tapping parts are also there to surprise us before giving way to the infectious energy of the short Sonoluminescent Hemoglobinopathy. The track hits hard, then slows down and gets heavier before finally giving way to Symphony of Absurdity, whose frenzied drums set the tone for vigorous riffs throughout, not to mention the thick mosh parts dedicated to live performances. Then the band blows us away once again with Sinking Into Catatonic Reality, the last track with furious and catchy old-school roots that also give way to high-flying passages, while others are much more simplistic but dedicated to pure destruction.
Stabbing establishes itself as one of the spearheads of the American scene with this new album, marking the beginning of 2026 with violence. Eon Of Obscenity has everything to please, from start to finish!
95/100
A few questions to Stabbing’s vocalist Bridget Lynch about the release of the band’s second album, Eon of Obscenity.
Hello Bridget and first of all, thank you very much for your time! Tough one to begin, you stated that Stabbing’s music is “more than extreme” and “just faster and more boundary pushing”, so how would you describe your music without using the words “Death Metal” or “Brutal Death Metal”?
Bridget Lynch (vocals): Hello ! Well, I had been asked how I’d differentiate between Death Metal and Brutal Death Metal, and that’s probably what I would say, personally. Though I think Stabbing has always sat somewhere between Groove and Tech as far as the songwriting goes.
“Stabbing” of course perfectly fits a band playing violent music, but do you remember how you came up with this name, and how do you link it to the music you play?
Bridget: Back then I had pushed for the band having a « one-word name » because I like those more. I feel they’re easier to remember and I like when a band name is concise like that.I remember saying « I want a name like Suffocation, Inveracity, or Disgorge » almost like a word that doesn’t even have to be inherently « brutal » depending on the context. So me and our guitar played came up with the name Stabbing.
Stabbing will soon release its second album Eon of Obscenity, how do you feel about it? Do you already have any feedback?
Bridget: Not much other than I personally feel proud of it, and I do think it’s my favorite of the two albums we’ve done.
How would you sum Eon of Obscenity’s identity up in only three words?
Bridget: I’m not sure… maybe, “aggressive, straightforward, raw”. That’s kinda how it feels to me after the last album.
Stabbing is only reaching its fifth anniversary, how does the creation process happen within the band? Did you notice some changes between now and the first demo back in 2021?
Bridget: Yeah, some changes here and there. Early on, songwriting was done in person a lot with our guitar player and old drummer, then they would send tracks back and forth for the rest.
Stabbing’s sound has been anchored in Death Metal and obvious brutality, but which bands would you quote as your main influences? Did the lineup changes affect the band in any way?
Bridget: If I had to pick some that we were generally influences for us since day 1, I’d say maybe Disgorge, Deeds of Flesh, Inveracity, stuff like that. There are honestly so many. Yes, lineup changes definitely affected the sound and made it what it is now, I think.
What is your personal favorite song on Eon of Obscenity, or maybe the hardest one to achieve?
Bridget: I think my favorite on this album is Reborn To Kill Once More. I like the pacing of it a lot, and I think there’s a lot going on that keeps it interesting to me.
Where do you find your inspiration to create music and lyrics? Is there a concept on Eon of Obscenity?
Bridget: I would say there’s not an overall concept, honestly. The title is mainly supposed to represent a “new” album to me. I think, conceptually, Stabbing has always been pretty straightforward in that regard.
Do you think you improved yourself as a vocalist/lyricist with this new record?
Bridget: I feel like I have, personally, at least from the last album. There are still things about my sound I want to improve on though.
Eon of Obscenity welcomes one guest vocalist, Ricky Myers from the mighty Suffocation (for whom you stepped in for a tour back in 2023 if I remember well). How did you ask him to participate in the song?
Bridget: It’s hard to remember when it first came up but I think at some point he jokingly asked to be on the next album, back then. So I was like well yeah of course, hah. Once the songs were recorded I reached out again and asked if he was still down !
Eon of Obscenity is the first album released by Century Media Records, how is this partnership going for now? How did you get in touch with the label’s team?
Bridget: It’s been pretty eye opening for me. For some reason, it’s hard to pinpoint exactly how we made the first connection, I think it was through multiple people we met based on my personal circle of friends here in town, people they knew, people we met subsequently, and so on.
Despite a tour in Europe back in May 2025, I unfortunately never had the opportunity to see Stabbing on stage. How do you live a live show from your point of view? Maybe you have some preshow or post-show habit, or some kind of warmup?
Bridget: For me, I do vocal warm ups, usually during the set before ours. It’s loud enough in the room that I can do it out in the open and nobody hears me. ? Sometimes I do Melissa Cross warmups, sometimes just do “mi-mi-mi’s”.
It’s been three years now since the band began to play live, did you notice any kind of improvement about live shows? Would you like to play more often?
Bridget: I still have stage fright pretty bad sometimes but it’s not as bad for me as when we first started, for sure. I got a bit more comfortable with developing a stage presence over the years. What I never understood about myself is that I always wanted to be a vocalist in a metal band but I’ve always hated being the center of attention, and also never know what to say to the crowd. I get nervous.
What will come next for Stabbing? About music, live, maybe other projects on the way?
Bridget: We aren’t totally sure yet ! I’ve been taking it one day at a time. We are hoping to do some sort of tour in support of the album, probably in the US.
Death Metal has always been a scene with very few women on stage, and even if it tends to change a bit, did you notice some evolution, as a woman? Whether it is as a concert goer or musician.
Bridget: Yes, I sorta think it’s become more welcoming for a lot of women over the years, but also I think it’s because the genre has gotten more and more exposure in times of social media and the internet. More people like Death Metal than ever now and I’ve seen more women and girls playing this music than I did even 10 years ago which is awesome. I of course can only speculate about what it was like before 10-15 years ago because I was too young to know much about it before that.
Have you ever heard of the French Metal scene? Are there any bands you know and like?
Bridget: I really like the album Colossal Titan Strife by Kronos.
Are there any bands you would love to play with? I let you create your dream poster with Stabbing and three other bands, even unrealistic answers are accepted.
Bridget: I think Dying Fetus is up at the top for me. That was the first Death Metal band I ever saw. Some impossible ones would be Inveracity, Deeds of Flesh, Pyaemia, to name a few!
Last and funny question: which dish would you compare Stabbing’s music with?
Bridget: This question really makes me think. Maybe something like a steak, because there’s beef, and because you’d eat it with a knife ? ?
That was the last question for me, so thank you very much for your time and your music, last words are yours.
Bridget: Thanks for having me!