Hebephrenique - Decathexis

I am currently reading a ten year commemorative reprint of the Nocturnal Emissions edition on the history of Tasmanian Black Metal. In an article about the Scourge of the Leper Demo, the writer discusses one of the members (Ismaelta) as being like Leonardo Dicaprio’s character in Shutter Island. He is completely insane, but not coherent of it yet. This is the perfect way to describe the music of Hebephrenique, from Brisbane, Australia.

Hebephrenique released their debut EP, Non Compos Mentis in 2023, which one of our psychopathic killers reviewed HERE. The EP was killer. We did not anticipate the follow up to be better, we expected it to be. The vocalist for the band is Kris Wolf, who is the drummer in Graveir, who are another brilliant Australian band, so while Hebephrenique are a newish band, it is clear that they know how to write engaging extreme metal, and can handle their instruments.

Released on the killer Australasian based label, Gutter Prince Cabal, Decathexis can loosely be described as experimental Death Metal. The album is a perfect evolution from Non Compos Mentis. It does not stray from their core sound and style, and their identity is purely extreme metal that borders on the insane (literally and figuratively). Decathexis means to withdraw interest, to be void of all emotional connection and energy. It is often a defence mechanism to some form of trauma, and once you place yourself in that space as a listener, the album transitions into more than a listening experience, you become part of it.

Decathexis begins with “Stasis,” an unnerving David Lynch like introduction piece, a soundscape that is essentially an extension of the track “Waking,” from Non Compos Mentis, so there is a nice through line there, and one which touches on the inspiration for the album. The track is the sound of a nightmare you can not escape from, a paralysis that should not be happening. I feel that a lot of this album is the space in between the cerebral and the emotional, and there is a push and pull towards or from adversity, aggression, inactivity, nature or nurture. Kris’s vocals are angry, painful and you can feel the disillusion with reality.

“Visions of Magdalene” is expelling something deep inside the songwriter. The guitars are eccentric but there is a structure behind it at the same time, which shows an ability to balance discordance, melody/space and harshness. I get the feeling that there is something disturbing to see if you peer inside the reality of the songwriter. The video for this track (see below) shows Kris on his hands and knees, and I don’t think he is praying. He is at the point of disintegration, begging to the saint to cease the visions. He can see what she witnessed and it is his waking nightmare.

“I, Adverse” opens in monstrous fashion, it is the heaviest section on the album, and the drumming and guitar work is in synch as the track begins to challenge the listener with movement and evolution, it is certainly the opposite of stasis. The main riff through the first third of the track is killer, and adds structure to an otherwise mental display of songwriting. The track then descends into torture, but there is a cool melody that weaves through the slower sections.

“Ascent to Derilation” provides some brief respite and light, but it is still almost three compelling minutes of expelling unhinged demons. The rhythm section on “Argumentum Ad Baculum” is important here, as the off the charts guitar parts appear out of control, but certainly are not. Decathexis is an incredibly consistent album, and the band has put a lot of effort into the flow, sequencing and mastering. Experimental albums or artists can often go too far down a track that ruins the flow of an album, and I place Imperial Triumphant into that category. Hebeprenique know just when to back things off, or introduce a riff that halts the building from falling over.

“To Inflict or Nurture” feels like a climax of sorts, and there is atmospheric underbelly that I really enjoy here. Much like Non Compos Mentis, Decathexis ends with the title track, and it is the longest on the album at eight minutes. The track encapsulates all that has come before it, and wraps things up with a disturbing display.

Hebephrenique is not for everyone, and those that prefer modern or classic death metal will likely have difficulty with this, or simply not understand it at all, and that’s okay. There are moments here that sound like the more accessible albums from Portal, Vexovoid or Ion. This is something that you will love or perhaps hate, and I am in the former category.

Killer and straight into the illustrious Rolling Top Ten of 2025 at #2