May 28, 2026
INGESTED UK technical death metal juggernauts New Album Denigration – PipemanRadio Interview
INGESTED UK technical death metal juggernauts - Denigration full-length, released on May 8th through Metal Blade Records.
INGESTED Presents “Oaths Betrayed” Lyric Video; Denigration Full-Length Out Today On Metal Blade Records + Chaos & Carnage Tour Underway!
The band comments, “‘Oaths Betrayed’ takes the language of faith, war, and destiny and turns it against the systems that abuse those ideas. The lyrics are about promises written in blood and enforced with steel; oaths that were supposed to protect but ended up binding people to suffering. It’s a world where idols are pissed on, scriptures are burned, and yet people still march ‘through ruins to claim what’s mine’ because truth is the only thing left worth carrying. It’s the sound of realizing that the divine has abandoned you, and deciding you’ll carve your own laws into bone.
“This song almost didn’t make the cut, and now it’s one of the tracks we reach for first. Musically, it hits that high-tempo, groove-driven, 2010s-era death metal energy, spiked with breakdowns that feel like the floor cracking open. It’s urgent, almost martial at times, with riffs that march more than they sprint. Lyn’s lyrical contribution here adds a different edge, more confrontational, more fixated on personal agency in the middle of collapse. ‘Oaths Betrayed’ feels like a rallying cry in the second half of the record.”
Denigration includes guest appearances by John Gallagher of Dying Fetus on “Watch You Fold,” Damonteal Harris of PeelingFlesh on “Merciless Reflection,” Skyler Conder of Cell on “Dragged Apart,” and Kyle Medina of Bodysnatcher on “Dredge The Dark,” further amplifying the record's scope and intensity
Produced by Nico Beninato at The Arch Studios in Southport, UK, Denigration captures INGESTED at their sharpest and most forward-thinking. The album’s visual identity is equally striking, featuring artwork by Giannis Nakos of Remedy Art Design, whose detailed, eerie imagery reflects the record’s thematic depth and ferocious tone
Denigration is available digitally, on CD, and on vinyl in the following color variants:
Monopile Electric Blue Smoke (US)
Hot Pink and Purple Smoke (US)
Red Marbled (EU – Ltd.500)
Purple With Red And White Highlights (EU – Ltd. 300)
Clear Turquoise Blue w/ Red + Neonpink Splatter (EU – Ltd. 300)
Hot Pink w/ Purple Amoeba (Band UK Exclusive – Ltd. 300)
Find orders at metalblade.com/ingested and the INGESTED webpage at ingested.co.uk.
Denigration Track Listing;
1. Dragged Apart (Feat. Skyler Conder of Cell)
2. Merciless Reflection (Feat. Damonteal Harris of PeelingFlesh)
3. Watch You Fold (Feat. John Gallagher of Dying Fetus)
4. Stitch By Stitch
5. We Are All Inherently Evil
6. Dredge The Dark (Feat. Kyle Medina of Bodysnatcher)
7. Oaths Betrayed
8. Beaten Beyond The Veil
9. Steel Toe Truth
10. Cold Sun
INGESTED is currently on tour in the US as part of the Chaos & Carnage Tour alongside Thy Art Is Murder, Carnifex, Bodysnatcher, 200 Stab Wounds, Gates To Hell, and Bodybox. In July/August, the band will return to Canadian stages as part of the Canadian Heritage Tour with Angelmaker and Disfiguring The Goddess. Tickets are on sale now. See all confirmed dates below.
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WEBVTT
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Hi, you love.
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Then to the censure Wow, cra you you.
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This is pipe Man here on the Avengers pipe Man
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W four c Y Radio, and I'm here with our
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next guest, uh Sean from Ingested.
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How are you?
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I'm good man.
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How are you doing good?
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So?
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Uh are you? Like by your tour tour bus?
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It looks like you're like about ready to do a
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show and you're here for this interview pretty much?
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Yeah, I mean we've got we've got boss calling like
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thirty minutes. Then we go ahead to the venue and
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then we load and then start the day.
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Basically nice.
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Nice, So I'm very interested to begin with that. There
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is a song that almost didn't make the album and
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now it's like your go to song. Tell us the
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story behind that and how that happened.
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Are you talking specifically about Ulsper Trade, Yes, sir, Yeah,
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I mean we kind of arranged to do about eight
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or eight or nine songs for the album, and then
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we've found ourselves having some extra time, we thought, why
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not just record you know, I had one in the
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back pocket and drew it.
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One in the back pocket.
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We'll just record these at the end of the session
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and maybe we could just extend you know, once the
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album comes out and six months later we've got two
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singles to release, blah blah blah. But we found ourselves.
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Looking at the sequence and listening to the sequence.
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Of the album and something was missing and also betrayed
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slotted in perfectly, and there you go. It ended up
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being a ten track album instead of eight or.
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Nice. And so.
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I think the Oaths portrayed song like it talks very
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much about the crap.
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We're going through in the world right now. Is that
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pretty spot on?
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I mean, I didn't write that one. I drummer wrote
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the lyrics of that one, so only he can specifically
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tell you about that song. But I mean when I've
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read it, I kind of get what you're saying, is,
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you know, objectively kind of looks and seems that way.
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Yeah.
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Yeah, And like there is a lot of stuff to
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write music about nowadays, like there's no shortage of things.
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It kind of reminds me like we're back in the
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eighties and writing the same crap, right Yeah.
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Yeah, I mean there's only so many original lyrics and
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riffs that you can do that that've not.
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Really been done before. So I mean, I guess there's
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some truth in.
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Today and the world is you know, it's like on repeat.
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The world's like on repeat, like history does repeat itself.
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So yeah, in cycles, man, exactly, your music's pretty badass.
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I want to know when it all started for you personally,
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to know that this is what you wanted to do.
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I mean before I left high school, I was like
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fifteen sixteen, and then they give you an interview with
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a careers advice person, you know, they kind of like
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try and set you up for life after school, and
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they're like, what do you want to do? And I
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was like, I want to be in a band, and
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they kind of didn't take that any seriously, said, well,
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you need something more.
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Not everyone gonna make it in a band.
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So I don't know.
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I guess I don't know.
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You know, I don't know what it is pants araic
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hime eraon you know, watching those their.
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DVDs and stuff. I was just like, this is what
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I want to do.
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And I think it's quite interesting that I set that
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kind of not mission statement when.
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I was fifteen.
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You know, now I'm nearly fourteen and I'm still doing
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the same thing. So I guess it works out.
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You know what that that tells you not to listen
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to other people follow your own heart man, Yeah exactly.
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So what what what was the feeling like that first
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time that you got on stage and did this.
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Just nerves?
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Yeah, I didn't.
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I didn't take to the stage very well for the
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first like a couple of years of the band.
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I just felt nervous.
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And but that the shows are really small anyway, It's
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kind of felt insignificant, if you will. But you know,
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obviously the band persevered and we managed to have opportunities
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to play really big shows and you know, now it's
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it's like another date.
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Work, you know.
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Yeah, well, and I gotta say what you experienced.
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And that's why I asked that, because the listeners need
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to know it that that's not so uncommon like most
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musicians I've ever known in my life are like introverted
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and or have.
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Stage fright, if you're gonna call it stage fright.
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Yeah, for sure, everyone gets the nerves, you know, just
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you can get your.
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Own head in terms of trying to form you know,
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don't fuck.
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Up, et cetera.
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So you know, it comes with experience. So the more
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you do it, the more you get used to it.
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But I mean, there are occasions where I still get
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those nerves, those butterflies. Yeah, yeah, very often, but there
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are occasions where you know, I'm still I still got
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a feeling, even twenty years, twenty five years down the line.
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I feel that because, like not I do this, but
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I also do my ovational speaking, and anytime I turn
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the mic on on stage or on radio or on podcasts,
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right before I turn the mic on, I always have nervousness.
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Like I've done over three thousand interviews. Still every time
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before I I'm like.
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Oh, I hope I don't fuck this up. Oh I
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don't do this, I don't do it.
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But the minute that mic turns on, there's a switch
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in my head like I'm in the zone, and it's
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like I'm a different person.
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Yeah, it's confidence. It comes with experience, like I said.
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Before, Yeah, absolutely, And you know it makes sense like two,
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when you're an early band and you're playing the small shows.
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To me, it's way more nerve racking to play to
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ten people.
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Than it is to ten thousand.
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I mean it's something like maybe so maybe true. I
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suppose with ten people there's a lot of focus on
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you and it's just those not small group of people.
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But I think maybe you're right. And you know, you
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can look over it and look at ten thousand people
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and then you don't really see individual people.
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It's just it's just a crowded you know, do you
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know what I mean?
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Like where tee because you're looking at these specific people.
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But yeah, I think there's maybe a bit of truth
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in it.
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Yeah, and you have that focus of their eyes are
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on you when there's this crowd of ten thousand, like
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you don't really know that.
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It just looks like one big crowd.
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It doesn't look like anything specific, you know.
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And so tell us what.
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We went behind this new album, how it may be
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the same as in the past, but also different.
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Yeah, I mean we went with a with an intent
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to write something heavy and griovy, like much more.
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What we you know, what we did when we first started.
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It was that youthful, kind of reckless attitude to writing
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heavy music.
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And I think over the years we've experimented a little bit,
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We've got complacence and you kind of like start doing,
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you know, different choices, and especially in the last two
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albums that we did, and I just felt it felt
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like it was time to a bit of a return
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to form, if you will. So yeah, the intent was
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to write some m of griovy and heavy and you know,
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just a collection of songs that would be punishing live
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in a live situation.
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Nice. Where's your favorite place to play live ever? Do
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you have one?
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I mean there's certain cities that will stick out and
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are always decent, but thick in a favor it will
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be very difficult for me obviously, Like a hometown shows cool,
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you know Manchester in the UK and London and the UK.
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Weirdly enough, Edmonton in Canada has always been amazing. We've
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played there three times over the over the years and
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each one's it has been insane. Yeah, typical place. It's
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like la usually good up in Worcester up that way
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was actually that was with the standout show from the
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whole TLL to be honest with them. We came through
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the Palladium a few about a week and a half
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ago and two tours met up, so it was split
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over the two stages and we played the small room
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and originally I was a bit disappointed we didn't get
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to play the large room, but it worked out in
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our favorite because you know, the fans upstairs and that's morroing.
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We're going nuts, going absolute bananas. So yeah, it's good.
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Yeah, I find that sometimes too.
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Like I I do coverage at music festivals all over
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the US, UK, Europe, and I was just doing one
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recently called Hell's Heroes, and it had like the main stay,
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a couple main stages, but that because it.
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Was a club type place that had these.
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Upstairs this upstairs small room, and that was where I
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was spending a lot of my time because man, those
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shows were insane.
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You know.
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And how does it feel for you as an artist,
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like you start playing the bigger gigs when you go
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back to club shows, is it kind of like nostalgic
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or more fun because you haven't done it in a while?
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I mean, that's kind of normal for us playing a
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small club show. I mean, big club shows are kind
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of rare. It depends what sort of you know. I mean,
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this tour has been fortunate. It's been some big, big
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rooms and stuff. But I always remember, like like three
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years ago we did a we did Lorna Shore in
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the US, then Canimal Corps in Europe, and then at
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the end of the year we did Lorna.
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Show in Europe.
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So I knew as soon as we got that first
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Lona Show tour, and then we had those two to
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followers like, this is going to be one of the biggest,
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you know, things doing a long time.
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And it's funny how like you just get used to it.
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You're playing you know, two thousand cat rooms, three thousand
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cat rooms, and it almost got normal, which was weird.
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And then obviously going back to a normal tour where
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you know, some venues we should fill, it was like, oh, okay,
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you know there's a there's like a eighty percent decrease
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in in a in crowd here.
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But yeah, I mean, I'm we're used to that. That's
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kind of our bread and butter is.
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Those small club shows, and you know, when you get
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the opportunity to a bigger show, it's always.
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Cool and that's where you get your loyal fans anyway,
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the smaller shows because they feel like so connected to
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you because they are it.
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Is an intimate setting.
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So I know Brian Slago from way back from the
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beginning of Metal Blade, and I love that here in
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twenty twenty six, he's still keeping metal so relevant. How
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do you like being on Metal Blade Records as an artist?
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Yeah, it's been really easier. I mean that the A
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and R rep a Metal Blade at the time.
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Who signed us was the X base player from the
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Black Darley Mane, which we talked with sixteen years ago,
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so that the conversation to get on the label was
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very very simple. It was, you know, Metal Blade, we
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can offer you this, we can provide this, Okay, let's go,
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and that was it.
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That was It's that simple.
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The thing about Metal Blade that was different from our
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previous labels was the just the amount of people working
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in the label. You know this there's someone to do
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