Glassbone returns to the Death Metal scene.
Formed in 2021 and with a debut EP released in 2024, the Paris-based quintet consists of Hadrien Besson (vocals), Jean-Philippe Barcos (guitar), Pierre Cantin (guitar), Alain Poirier (bass), and Nicolas Bastien (drums), is collaborating with Frozen Records and Iron Fortress Records for the release of its new EP, Ruthless Savagery.
The band attacks without frills after a few seconds of chaos with Ruthless Savagery, the eponymous track that blends their brutal Old School Death Metal foundation with vindictive Hardcore patterns and Hadrien‘s cavernous vocals, which add to the carnage. Dissonant harmonics are added to certain passages to accentuate the oppression of the track, as well as artificial sub-bass frequencies that weigh down the riffs, as on Dryin’ Up Of Their Blood, which leans towards a Slam Death touch that is just as effective at breaking necks. I have no doubt about the power of this song live, which will have the crowd performing all sorts of more or less coordinated movements, but the band also doesn’t shy away from adding a few piercing leads before a thick final that leads into Apostasy Imperium, where the rhythm accelerates again, crushing us. The riffs mercilessly batter us, allowing only a vocal sample to give us a brief moment of respite before resuming with renewed vigor until the bewildering finale, followed by E.K.F.I.V., which immediately returns to violence and hits us blow after blow, even offering a tortured solo that ends to let the mosh part resume its place. The band calls on Fiore Stravino (Fulci) to give Testimony Of Death an even thicker, wilder, and also slightly disturbing touch, but the track is a little short, and gives way to Driven By Sinister, which follows suit at a good pace, slowing down only to thicken even more, but we note that the track also offers some catchy choruses that once again make you want to hit everything that moves while letting yourself be rolled over one last time.
Glassbone warned us with their first EP, but Ruthless Savagery will take no prisoners! Everything in these six tracks calls for the most brutal violence, and I know there will be injuries in the mosh pits at their upcoming concerts!
95/100
A few questions for Hadrien Besson, singer of the Parisian Death Metal/Hardcore band Glassbone, on the release of their new EP Ruthless Savagery.
Hello, and first of all, thank you for your time! Without using any style labels such as “Death Metal,” “Hardcore,” or other subgenres, how would you describe Glassbone?
Hadrien Besson (vocals): I would say dense, in the sense that we draw on many influences. Otherwise, I would say powerful, thick, and nihilistic. We don’t set any stylistic boundaries; basically, people find what they want in it. We ourselves don’t really care about being categorized into this or that style if there was no need to give an overall direction for the band’s development.
How did you choose this name when you formed the band, and how do you personally relate it to the music you play now?
Hadrien: We just needed a name. We wanted it to be one word and versatile enough. The image of bones breaking like glass is just an allegory for relativism: what seems to be the hardest and strongest thing can be destroyed in the blink of an eye if the necessary means are used. It also refers, of course, to brittle bone disease; it’s just for the “corporate Death Metal” aspect (laughs).
Your second EP, Ruthless Savagery, is coming out in February 2026. How do you feel within the band? Have you had any feedback about it yet?
Hadrien: It’s a mixture of relief and anticipation. Our music takes on even more meaning when performed live. In my opinion, releasing an EP or an album is not an end in itself, it’s the starting point for potential shows, tours, etc., which we will have to honor. That’s when we’ll be able to judge how our music is received. Otherwise, with the two singles that have been released, the feedback has been pretty good. At the same time, those who don’t like it won’t take the time to say so—at least I hope not, because that would be a sign of an empty existence.
How did the process of writing the Ruthless Savagery EP go? Did you notice any changes compared to the band’s beginnings in 2021?
Hadrien: We started writing the EP while the previous one, Deaf to Suffering, was being released. Basically, the songs are written by one person (JP, guitars). He doesn’t live in Paris, so he sends us his ideas, we give him feedback, and we move forward like that. But this time, Pierre (the other guitarist) really started to get involved in the writing process, which opened up new avenues to explore. I’d say that writing this EP was a good warm-up for an even more ambitious project to come. Compared to 2021, there have been a lot of developments and soul-searching about our music and what we wanted to offer. I think it’s a fairly healthy and normal process, even if it’s long and unpleasant, especially in an era where we’re used to bands exploding overnight as if a style were an absolute truth.
The band’s sound blends Brutal Death roots with strong Hardcore influences. Which bands would you cite as your main influences? How do you manage to create your own unique sound?
Hadrien: Our music is the result of digesting the Hard n’ Heavy and Metallian samplers we listened to on repeat as kids. It’s a tribute to what we love and what got us into, discovered, and deepened our knowledge of Metal and Hardcore culture. It’s pretty hard to name specific bands because we’re influenced by a thousand bands, each for different reasons. But factually, I would say the American Death Metal scene, especially Tampa: Deicide, Obituary, Malevolent Creation, Morbid Angel… anyway, the list is long and we all know it. And the New York Death scene with Immolation and Incantation, but also bands where we already saw Hardcore tendencies such as Internal Bleeding, Mortician and of course Suffocation. As for Hardcore, we’ve been part of that scene for about fifteen years now. Even though we listen to some Hardcore Punk bands, we’re more attached to the Metal side of the style. I can mention bands like Vow of Hatred, Line of Scrimmage, God’s Hate, early Throwdown, Arkangel, Biohazard…
The first track presented is Testimony of Death, featuring Italian vocalist Fiore Stravino from the band Fulci. Why did you choose this track to present the EP, and how did you get in touch with Fiore?
Hadrien: We see this track as the epicenter of the EP. In my opinion, it’s a good representation of what will be offered on this record, which is why we chose it as the first single. As for Fulci, I’ve been following their career for quite some time and they’re quite inspiring to us; they’re also fans of Death Metal and Hardcore. We first met their drummer, who plays in a Hardcore band called Jorelia, and then we ended up playing a show with Fulci. We hit it off. We wanted to include a guest artist on the EP because that’s something I personally like to see in other people’s projects when I discover them. That’s how it came about.
The EP is being released via Frozen Records (Europe) and Iron Fortress Records (USA). How is the collaboration with these two labels going?
Hadrien: The connection with Frozen came about because they already had friends of ours signed to them. Today, they are a very active player on the French scene, giving 100% to each of their releases. For our part, we only want to work with people whose work we respect. We played at a show they organized, and that’s when we decided to work together. As for Iron Fortress, he took an interest in the band when our first EP came out and immediately wanted to release it in the US. The collaboration went smoothly, so we continued. His catalog is huge, with lots of death metal bands to discover. He does impressive work, and you can feel his passion.
In terms of artwork, we have a piece by Paolo Girardi. What were the guidelines? How does it feel to work with such a renowned artist again?
Hadrien: This is the second time we’ve collaborated with him. This time, the pitch was very brief: I asked him to interpret the greatest and most raw violence that nature could offer the human race, giving him the idea of Niagara Falls for a sense of grandeur. You just give Paolo an idea in one line and then let him do his thing. You know what you want from him, so you let him interpret it. He told us he was very proud of it because it was a bit different from his usual commissions. We’re completely satisfied with it.
How do you approach a concert with Glassbone? Do you have any pre- or post-concert rituals?
Hadrien: Quite frankly, not really. We each warm up a little on our own, but nothing very elaborate. We just try to remember that, despite the quality we need to produce as much as possible, it’s only by enjoying ourselves that we’ll be proud of ourselves and that we’ll be able to convey that energy to the audience.
The band is starting to build a reputation beyond our borders. How do you handle concert offers that require long journeys?
Hadrien: We have a bit of logistics to manage because one of us lives in Marseille. For the rest, we have our van. If it’s far away, it doesn’t matter, we just drive. We try to find dates along the way if possible. It’s still a privilege to travel thanks to music, so we don’t see the miles as a problem as long as we like the show poster.
Do you also like horror movies? If so, which ones?
Hadrien: Yes, I’m really into horror movies, especially American slasher films from the 90s and early 2000s. My musical culture was shaped by my love of horror and action movies. When I was younger, I used to buy soundtracks to discover new bands. French cinema also has some great films, such as Alexandre Aja‘s High Tension and Pascal Laugier‘s films.
There seems to be a sort of revival of Old School Death Metal incorporating elements of Hardcore/Grind (Fulci, Sanguisugabogg, 200 Stab Wounds, etc.). How do you perceive this evolution?
Hadrien: In my opinion, it’s not a revival of Old School Death Metal, it’s a revival of what Death Metal is and should be. The public has become accustomed to Death Metal diluted with Tech or Deathcore, but for me, the raw form of a style is not necessarily “Old School.” I find this whole new scene fascinating and promising. Where some have been shitting on the codes for years to appear “smoother,” these bands show that you can be part of the present and future of a style while cherishing its codes. The audience is looking for a form of authenticity.
What are Glassbone‘s next projects after the release of the EP?
Hadrien: ?To tour as much as possible to promote it. We have dates in France, Belgium, Switzerland, and other great things are coming, but I’d rather not say anything so as not to jinx it. After that, I think it will be time to make an even more advanced and accomplished album. We’ve already started writing a few riffs.
Do you think you’ve improved as musicians with this EP?
Hadrien: I hope so, it would be a pain to spend time regressing! However, we are aware that we are not technical monsters and we don’t see our music as a demonstration of “skills.” Is this noticeable when listening? I don’t know, it’s not for us to judge.
Which bands do you dream of playing with?
Hadrien: It’s almost impossible to answer that without coming up with a week-long festival lineup! I’ll say Slayer, Deicide, and Biohazard. That lineup wouldn’t make much sense on paper, but I’m sure it would delight a lot of people. Since we’re fantasizing, I’ll mention the bands at their peak, before some of them passed away.
Last question: what dish would you compare Glassbone‘s music to?
Hadrien: Fondue Savoyarde.
So that was my last question. Thank you for your time, and the last words are yours!
Hadrien: Thank you for this interview. Come see us live and continue to support the underground scene.