Stabbing - Eon of Obscenity

Stabbing has never been subtle, but Eon of Obscenity, out January 30, 2026, makes one thing abundantly clear: subtlety was never the point. The Houston, Texas foursome doesn’t just operate within the boundaries of brutal death metal—they gleefully bulldoze them. As their Century Media debut, Eon of Obscenity feels less like a sophomore album and more like a declaration of intent, positioning Stabbing as one of the most ferocious and forward-thinking voices in modern brutal death metal.

From the opening moments of “Rotting Eternal,” the album wastes no time dragging the listener into its suffocating world. The transition straight into “Inhuman Torture Chamber” is seamless and punishing, immediately showcasing what sets Stabbing apart: sheer extremity executed with purpose. Bridget Lynch’s vocals are the album’s most jaw-dropping weapon—gutturals plunge to abyssal depths before snapping into chittering, almost inhuman cadences that barely sound possible, let alone controlled. It’s brutal, but never sloppy.

While Stabbing’s early material leaned into primal savagery, Eon of Obscenity feels like a refined evolution of that chaos. Tracks like “Masticate the Subdued” and the title track strike with relentless speed and density, but there’s a sharper sense of structure underneath the carnage. Guitarist Marvin Ruiz’s riffs—honed further by his work with Devourment—are suffocating and precise, locking in tightly with drums that feel less like rhythms and more like sustained assaults.

One of the album’s most surprising moments comes with the instrumental “Ruminations.” Rather than acting as a breather, it highlights the band’s growing technical confidence, weaving shifting time signatures and layered riffs into something unsettling and cerebral. It’s a reminder that brutality and musicianship aren’t mutually exclusive—and that Stabbing are more than capable of balancing both.

The record hits another high point with “Reborn to Kill Once More,” a track that feels emblematic of the album as a whole. It’s vicious, focused, and brimming with conviction, underscoring Lynch’s own sense of rebirth behind the mic. Later, “Nauseating Composition,” featuring Suffocation vocalist Ricky Myers, adds an extra layer of old-school credibility while feeling entirely earned rather than gimmicky—a full-circle moment following Lynch’s now-legendary stint filling in for Myers on tour.

Sonically, Eon of Obscenity benefits from a production that understands restraint. Recorded at Southwing Audio in Houston and mixed and mastered by Chris Kritikos (Oceans of Slumber, Cryptic Void), the album is raw without being muddy, aggressive without being over-polished. Every blast beat, riff, and vocal eruption lands with clarity, preserving the grimy honesty that defined the genre’s ’90s and early-2000s roots.

Beyond the sheer sonic violence, Eon of Obscenity also carries a subtle but important sense of perspective. Lynch’s presence as one of the few female vocalists in brutal death metal isn’t treated as a novelty—it’s a strength. Her approach to lyrics and delivery flips expectations, injecting the genre with a voice that’s both confrontational and necessary, continuing a lineage forged by bands like Cerebral Bore while carving out something distinctly her own.

By the time closer “Sinking Into Catatonic Reality” collapses into silence, it’s clear that Eon of Obscenity is more than just a heavier follow-up to Extirpated Mortal Process (2022). It’s a defining moment for Stabbing—a record that elevates their sound, sharpens their identity, and sets a new benchmark for contemporary brutal death metal. In a genre built on excess, Stabbing have found a way to push further, faster, and harder—and make it feel essential.

---

Check out more from Stabbing: Facebook | Instagram