Formed in 2013 in Toronto, Canada, Centuries of Decay blends progressive atmospheric death metal with visceral storytelling. Drawing from influences like Gojira, Ulcerate, and Enslaved, the band’s sound balances overwhelming sonic brutality with poignant, reflective lyricism. Their self-titled debut in 2017 garnered critical acclaim, and their sophomore album, A Monument to Oblivion (2025), is poised to cement their status in the metal scene. Notable performances include Wacken Open Air (2018), Armstrong Metal Fest (2019), Decimate Metal Fest (2019) and a Canadian tour with Tortured Saint.
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Where Ruins Breathe: Inside the World of Centuries of Decay
Where Ruins Breathe: Inside the World of Centuries of Decay
What does A Monument to Oblivion represent for Centuries of Decay at this point in the band’s journey?
A Monument to Oblivion is a reflection on loss and grief and how these experiences shape and change us. This album in a sense is a memorial of what used to be.
It’s massively important to us that this album is finally out there in the world. It was ‘in the making’ for a very long time. To be able to show people what we’ve been toiling over for years is incredibly rewarding. The album also feels like a serious step up for us as a band, both in terms of the songwriting and the sound of the final mix/master.
Which musical influences—classic or contemporary—played the strongest role in shaping the sound of A Monument to Oblivion?
Our sound has evolved since our last album, but I feel it's a very natural progression. We've taken our sort of black/death/proggy sound and pushed it way further, technically and emotionally. Personally (Devin), I've been finding influence in bands like Ulcerate, Gorguts & Ahklys. Lots of atmosphere with really heavy riffs.
What drew the band to record A Monument to Oblivion at Seventh Level Sound, and how did that environment shape the sessions?
Anton took a hiatus from the band to focus on his family and Matt Hems (owner of Seventh Level Sound) stepped in and was our live bassist for a solid 5 years. We went on tour with him and he played with us at Wacken in 2018. In 2021, Anton returned to the band and focused his attention on building his studio. Matt has an incredible attention to detail and is very knowledgeable when it comes to recording. He's also about getting it right from the very beginning, off the floor. Plus, he knew our sound and what we were looking for. I'm an engineer myself, but I have very little experience recording drums. Matt knew exactly what to do and our drum tracks turned out fantastic.
Did any tracks undergo major transformations once the band entered the studio compared to their earliest rehearsal versions?
We always record demo tracks as we write. Not only so we don't forget the riffs, but so we can hear it as a song. It's pretty easy to get carried away when writing in our space so recording scratch tracks helps us edit things down (yes, our songs ARE edited down...). We did all of our finessing and arranging on the scratch tracks so we entered the studio being able to fully focus on performance. Vocally, nothing was recorded on scratch tracks. Since I do rhythm guitars, I have an idea on where to place vocals but I usually don't have a completely finished idea until the song is finished. This time around, we wrote the lyrics for almost half the songs while recording guitars in the studio.
Which song from A Monument to Oblivion took the most interesting journey from initial idea to finished recording?
In general, recording vocals. Since we only rehearsed vocals in our jam space, none of us had a clear concept of what they were going to sound like until we hit the studio. So it was really fun and interesting to see how they transformed each song. This time around, the vocals and lyrics were created in a more collaborative way. If I were to highlight a song in particular, it would be recording vocals for 'The Great Divide.' Lyrics were written by Derrick on this one. He also sings during the first section of this song. At the end of the song, we took that vocal idea and turned it into a huge harmonized vocal part. It gave us goosebumps every time we heard it and it really elevated the track.
When preparing the new material for live performance, which elements from the studio versions are emphasized, altered, or stripped back?
We do our best to reproduce what we've recorded live which means we also try not to over-produce the album. Rob (lead guitarist, clean vocals) recorded all the clean vocals, which include harmonies. Since we don't have multiple Robs, Anton and I have to try and pickup the slack, which actually works out well. What you hear on the album is what you are going to hear live.
How do individual influences within the band blend together to create a unified sound across the record?
Our songs have a lot of contrast. Heavy, quiet. Singing, growling. We listen to lots of other music that isn't metal, but are able to draw inspiration from it and incorporate it into our sound. I think we've been together long enough to know what things a song calls for and we're open to trying out parts to see if they fit. If someone brings in a part that they've been working on, we'll try it out and every one has a chance to play around with it.
Are there non‑musical inspirations—visual art, literature, film, or personal experiences—that helped shape the themes or atmosphere of A Monument to Oblivion?
Unlike our previous album, which was more of a concept album, this one is more personal and isn't trying to tell a unified story. But as mentioned before, this album focuses more on loss and grief; loss of a loved one, a relationship, of self; and trying to rebuild from that. We all had a lot of life changing events over Covid and that became an influence for most of the material.
What does the band hope listeners notice when hearing the new material performed live for the first time?
I know that when I go to see one of my favorite bands play, I usually hope that the sound guy is on point hahahah. But in all honesty, seeing a well rehearsed band being able to perform their songs well right in front of you is such an incredible experience. It's as if they took something that was purely a listening experience and turned it physical. There's an intensity and feeling that never fully translates into a recording. I hope that our live show captures all the details and emotions that our album has and brings it to life in the most intense way possible
As Centuries of Decay looks beyond A Monument to Oblivion, what direction feels most compelling to explore next—heavier, more experimental, or something entirely unexpected?
It's hard to say right now. This album ended up becoming significantly more intense and layered than the previous. The material we are playing around with right now is pretty damn heavy, so probably that. Maybe we'll challenge ourselves to write some normal length songs hahahaha.
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