My Dying Bride Unveils ‘The 2nd of Three Bells,’ and Exits Maryland Deathfest

My Dying Bride has unveiled a new track titled ‘The 2nd Of Three Bells,’ serving as the second single from their forthcoming album, ‘A Mortal Binding.’ This release perpetuates the band’s trademark of crafting slow, dirge-like compositions steeped in Gothic influences. The track’s accompanying video, directed by Daniel Gray, features vocalist Aaron Stainthorpe set against a backdrop of desolation, with visuals of women contorted and suspended, encapsulating the band’s typical aesthetic.

Also recently, My Dying Bride has withdrawn from their scheduled performance at Maryland Deathfest 2024, prompting a significant lineup change. Agalloch will replace them, stepping in for their first East Coast appearance since 2014 and a notably infrequent show since their reunion. The festival organizers shared that after an extended period of unresponsiveness, My Dying Bride finally communicated their decision to cancel all their 2024 engagements. The abrupt nature of this news has significantly inconvenienced many fans who had arranged travel specifically to see My Dying Bride. In response to the situation and the potential waste of already approved visas, the organizers swiftly arranged for Agalloch to take the vacated slot, thereby maintaining the festival’s continuity and high standards.

The decision by My Dying Bride to cancel their appearances was not related to health issues, as confirmed by the festival organizers, who expressed their understanding of the situation and their commitment to transparency with the fans. This development comes amidst the backdrop of My Dying Bride’s rich history in the doom metal genre. Known for their somber melodies and profound lyrical themes, My Dying Bride is slated to release their 15th studio album, ‘A Mortal Binding,’ on April 19th via Nuclear Blast Records. This latest work continues their exploration of despondent and evocative themes, encapsulated within doom metal’s intense and mournful soundscapes.

The Maryland Deathfest, an annual music festival held in Baltimore, Maryland, stands as a significant event in the heavy metal scene in North America. Since its inception in 2003, the festival has showcased a wide array of metal genres, including death metal, black metal, grindcore, and doom. This festival, founded by Ryan Taylor and Evan Harting, has grown considerably from a small, one-venue event to a much larger endeavor, spanning several days and multiple venues across Baltimore.

Originally conceived to fill the void left by the demise of Milwaukee Metalfest, Maryland Deathfest has not only succeeded in maintaining the tradition of large-scale metal festivals in the United States but has also expanded its influence, becoming a pivotal gathering for enthusiasts of extreme music. The festival’s commitment to diversity is evident in its line-up, which frequently features bands from various countries, thereby offering attendees an eclectic mix of musical styles and cultural backgrounds.

The festival’s impact extends beyond mere entertainment. It has played a critical role in the resurgence and sustainability of many sub-genres within metal. By providing a platform for both established and emerging artists, Maryland Deathfest has facilitated unique interactions between musicians and fans, which have been pivotal in sustaining the genre’s vitality and evolution.

Maryland Deathfest’s organization reflects a meticulous attention to detail and a deep respect for the genre’s community. The selection of venues over the years, from the former Sonar complex to the more recent use of Baltimore Soundstage and Rams Head Live, indicates a strategic approach to accommodate the growing audience while preserving an intimate atmosphere conducive to the genre’s aesthetic and auditory demands.

Furthermore, the festival has occasionally stirred controversy, primarily due to the diverse ideologies and lyrical themes of some participating bands. These controversies often reflect broader tensions within the metal community and the challenges of curating a festival that represents the genre’s wide-ranging spectrum without endorsing specific, potentially divisive, viewpoints.

Through its evolution, Maryland Deathfest has remained at the forefront of the metal festival scene in North America. Its ability to adapt to the changing dynamics of music production and consumption, while staying true to its roots, underscores its importance as a cultural institution within the metal genre. Its ongoing success provides a vital economic boost to the local economy and strengthens Baltimore’s reputation as a hub for live music.

The Peaceville Three, a moniker denoting a triad of influential bands signed under the British record label Peaceville Records, encapsulates the pioneering spirit of doom metal during the early 1990s. Among these, My Dying Bride emerged not only as a pivotal figure within this cadre but also as a progenitor of a subgenre blending doom with death metal, gothic undertones, and a profound poetic melancholy. This ensemble, hailing from Halifax, West Yorkshire, commenced their artistic journey in 1990, quickly distinguishing themselves with their innovative stylistic syntheses and thematic depth.

In their early works, My Dying Bride integrated the slow, crushing intensity of doom metal with the aggressive ferocity of death metal, a fusion exemplified in their debut album. This initial offering was marked by its use of both growled and clean vocals, an element that became a staple in their sonic repertoire. The thematic content of their lyrics often delved into abstractions of despair and romanticism, heavily laced with literary and mythological references, which resonated with a diverse audience beyond the typical metal community.

The evolution of My Dying Bride’s sound was accompanied by a gradual shift towards more structured compositions and the inclusion of violin and keyboard melodies, which added a layer of atmospheric density to their music. This transformation was particularly evident by the mid-1990s, as the band began to incorporate elements of gothic rock, distancing themselves somewhat from their death metal origins. This period in their oeuvre is characterized by a more narrative-driven approach to lyricism, exploring themes of loss, sorrow, and the macabre through increasingly complex musical arrangements.

Critically, My Dying Bride’s contribution to the Peaceville Three phenomenon is significant for their role in expanding the boundaries of the doom metal genre. Their willingness to experiment with diverse musical elements and to integrate high literary qualities into their lyrics set them apart from contemporaries. Moreover, their influence is observable in the subsequent waves of doom metal bands, which have adopted similar integrations of genre and thematic content.

‘A Mortal Binding’ is definitely a testament to My Dying Bride’s enduring ability to channel deep emotional and existential dread through their music. Tracks such as ‘Her Dominion’ and ‘Thornwyck Hymn’ showcase their signature blend of heavy riffs and melancholic violins, with lyrics that weave tales of love, loss, and decay. The album was produced by Mark Mynett at Mynetaur Productions, maintaining the high production quality and atmospheric depth that the band is renowned for.

Despite their long standing prominence in the scene, My Dying Bride’s recent cancellation raises questions about their future activities and overall stability within the band. Nevertheless, their latest release ensures that their sonic legacy continues to resonate with fans new and old, cementing their status as pioneers of the death-doom genre. As the Maryland Deathfest approaches, Agalloch’s inclusion promises to fill the void left by My Dying Bride, offering attendees a unique opportunity to experience another revered act in the metal music sphere.

With regards to ‘The 2nd Of Three Bells,’ guitarist Andrew Craighan elaborated on the track’s thematic essence, emphasizing its role in contrasting the perpetual shadow of mortality with ephemeral pleasures. According to Craighan, ‘The 2nd of Three Bells’ portrays the band in a dynamic of musical performance, interwoven with symbolic representations of life’s fleeting joys amidst the omnipresent specter of the death knell.