DYSRHYTHMIA Streams “No Breath After Beauty”, Announces First New Album In Five Years

Dysrhythmia is back for the first time in five years and – surprise, surprise – they’re still making perfect instrumental metal.

Dysrhythmia has announced their new record Coffin Of Conviction and is now streaming the gorgeously complex new single “No Breath After Beauty”. The album also marks 25 years of Dysrhythmia, which is perfect timing considering Coffin Of Conviction will be self-released via guitarist Kevin Hufnagel‘s own Nightfloat Recordings. Pre-orders are available here on Bandcamp.

“Coffin of Conviction is Dysrhythmia‘s 9th studio album and marks their 25th anniversary as a band,” said Dysrhythmia of the single and album. “Though the instrumental trio’s reputation for energetic, dense maze-like compositions are on full display here, new tracks like ‘No Breath After Beauty’ and ‘Light from the Zenith’ showcase the band’s deepening interest in space, subtly, and an atmosphere of melancholia.

“Listeners may notice some surprising new textures for the band via the use of guitar synth on select tracks. Additionally, the initial musical seeds for many of the album’s tracks began with guitarist Kevin Hufnagel composing drum ideas first to then write his guitar parts to. Next drummer Jeff Eber would interpret and finesse these parts while bassist (and sometimes 2^nd guitarist) Colin Marston would compose his parts atop that. This was a new writing approach that proved inspirational to the band.

“Dysrhythmia honors its DIY roots with Coffin of Conviction. The album will be self-released via guitarist Kevin Hufnagel‘s own Nightfloat Recordings imprint. Recording, mixing and mastering was done completely in-house by the band’s own Colin Marston at his Menegroth: The Thousand Caves studio in Queens, NY.

“An LP release is planned for Fall 2024 through Brooklyn-based ‘grind in opposition’ label Nerve Altar. The haunting and surrealist work of Latvian-born visual artist Viktor Timofeev graces the album’s layout. Thus, enhancing the album’s aesthetic and further luring the listener into the labyrinthian world of the band’s auditory architecture.”