Seattle’s Degraved have unleashed Spectral Realm of Ruin on Dark Descent Records and Me Saco Un Ojo Records. Their debut full-length feels like a beast tearing out of the underground with sharpened intent. Its riffs—gnarled, punishing, and carved with a feral precision—form the unmistakable core of the album. It reveals death metal that’s unrelenting and atmospheric, driving the band into its most dangerous territory yet.
Forged in a Crucible of Change
Degraved have weathered lineup shifts and refined their aggressive sound ahead of their debut full-length, Spectral Realm of Ruin. The album marks a significant milestone for the band, which solidified the current quartet after a period of transition. “Some of the songs had versions up to two years old, but the majority of the album was written in the year preceding recording,” explains bassist and vocalist Nick Emard. “The group basically took a year off to figure out lineup changes and direction, and during that time, most of the riffs were fleshed out.”
This creative recalibration was necessary after a major change. “About two years ago, three-quarters of the lineup was moving on, and I had a bunch of songs written for the record and didn’t want to give it up,” Emard recalls. He first brought in drummer Leo Padua, noting, “I asked Leo to join first because I had played shows with him and just had such an admiration for his style. Seriously, a fantastic feel, and I always loved hanging out with him.”
Next came guitarist Monte McCleery. “I had always wanted to play music with Monte and have tremendous respect for what he has done with his past bands, especially Un. I was stoked he was down.” Guitarists Monte McCleery, Dante Zickler, and Logan Miller complete the lineup. Emard adds, ‘Logan, Dante, and I also play in a band called Cystic together. When Logan couldn’t make the first Degraved tour with the new lineup work, I asked Dante to fill in as a touring guitarist, and he did a killer job.”
From Goblins to Blasphemy
Lyrically, Spectral Realm of Ruin works on two different levels. Drummer Leo Padua briefly sums up one approach: “We like to write about goblins and gremlins and foul beasts farting and setting things on fire.” However, the album also explores more meaningful themes. Specifically, the tracks “‘Stalker of the Herd’’ and ‘‘Unseen’’ have ‘‘deeper meanings that I wrote intentionally and am more proud of,’’ Emard explains. These include addressing religious themes. ‘‘We are blasphemous fucks who live hedonistic lives,’’ Emard says. Moreover, ‘‘Unseen’’ is a direct critique of current U.S. politics.
A Deliberate Filth
If clean production is your thing, you’ve come to the wrong place. Degraved’s sonic philosophy is intentionally raw and unpolished. The band chose to self-produce the album, with Emard handling the recording. “I try to keep it sounding raw, dark, and in the red,” he says. “I just really have an affinity for that sound, my favorite records sound that way, and I love the sound of quality home-recorded records without too much studio sheen.” This DIY ethos was central to the album’s creation. Padua highlights the pride in their process, simply stating, “I was stoked about being able to do the whole thing in Nick’s shed.”
Looking Beyond the Ruin
Spectral Realm of Ruin is a brutal listen, capturing the dark, cavernous sound of early 1990s death metal. It mixes fierce blasting sections with slower, doom-inspired parts and a generally grim mood. The album’s cover art, a striking piece by Hidris, perfectly matches its ominous tone.
Degraved plan to bring this new material to the stage extensively. “We are going to announce some select Northwest dates with our friends in Autolysis to celebrate the album’s release; those will be in early April,” Emard reveals. “Then, late April through May, we are embarking on Profaning Creation Over Europe, a three-week tour across Europe with our brothers in Warp Chamber.”
This debut cements Degraved as a potent underground force, delivering a sharp, genuinely vile listening experience.
Photo courtesy of Degraved.
