The calendar has turned to 2026, and the Death Metal renaissance continues with the latest effort from the up-and-coming Houston, TX quartet, Stabbing. Combining monstrously thick guitar tone, jackhammer grooves and heavier-than-thou breakdowns, the latest Stabbing release (titled Eon of Obscenity) is the type of sonic bulldozer that even well-established acts could only dream of creating. While not necessarily reinventing the proverbial wheel, Stabbing instead perfected it; and Eon of Obscenity is a sterling example of a young, hungry outfit that is just now entering their devastatingly powerful prime.

At it’s core, Eon of Obscenity is a Brutal Death Metal (BDM) album; nothing more, nothing less. The songs are short, the riffs are crushing, the drums are like an assault rifle, and the leads are nonexistent. The guttural, subterranean vocals on Eon of Obscenity are again provided by talented and charismatic Stabbing front-woman Bridget Lynch; who’s barbaric delivery easily cements her status as the best female Death Metal vocalist since Dana Duffey, circa ‘91.

The eleven songs that comprise Eon of Obscenity are crunchy, well crafted and memorable, without any over-reliance on blast beats. Starting with the short and punishing number, ‘Rotting Eternal’, Eon of Obscenity grabs the listener with it’s primal intensity and doesn’t let go until the final seconds of ‘Sinking into Catatonic Reality’. Guitarist Marvin Ruiz also shines throughout the album, unleashing an avalanche of piledriving riffs from start to finish.

The sonic devastation showcased on Eon of Obscenity is as relentless as it is uncompromising. Tracks like ‘Inhuman Torture Chamber’, ‘Masticate the Subdued’, and ‘Reborn to Kill Once More’ exemplify the band’s singular focus and take no prisoners approach to songwriting. Therein lies the genius of Stabbing. Whereas many bands in the Death Metal genre focus on hyper-speed velocity and over-the-top technicality in their musicianship, Stabbing take a more measured approach; writing strong, cohesive songs rather than simply slapping riffs together indiscriminately.

Of particular interest is the short instrumental track, ‘Ruminations’. Clocking in at a mere minute and thirty-five seconds, this little gem is somewhat reminiscent of the Cannibal Corpse track ‘From Skin to Liquid’. It’s completely devoid of any flowery acoustics, folk instruments, soundbites or atmospheric backdrops. But there’s a definite groove to Ruiz’s ominous chugging that make ‘Ruminations’ an enjoyable, if somewhat unexpected highlight of the album.

The following track, ‘Nauseating Composition’, features a guest appearance from Suffocation front man Ricky Myers, who Bridget famously filled in for on several tour dates while he was recovering from illness. The track itself is a three minute whirlwind alternating between frantic and thunderous breakdowns, worthy of the NYDM icons themselves.

There’s no shortage of crushers on this album, with the back half of Eon of Obscenity rounded out with tracks like the earth-shaking ‘Their Melted Remains’, ‘Sonoluminescent Hemoglobinopathy’ (what does that even mean!?), ‘Symphony of Absurdity’, and ‘Sinking into Catatonic Reality’. The former is probably the standout track of the entire album. Being a bit longer than most of the other songs on the album, ‘Their Melted Remains’ is a menacing and primal track that takes Death Metal heaviness and extremity to new levels. This would be a great one to see performed live.

Overall, Stabbing have crafted an album that is focused, powerful, cohesive and well written. Eon of Obscenity is an excellent release that fans of extreme Metal will undoubtedly enjoy. I’m excited to see what the future holds for Stabbing and looking forward to seeing them on stage again.

Eon of Obscenity is set for release 1/30/26 via Century Media Records