A dark, rainy city street scene with gothic-style buildings and statues, illuminated by street lamps, by water reflecting the glow. The sky has swirling, colorful clouds. The text on the top appears to be a stylized band logo, and at the bottom, it says 'Demeorse of Conscience'.

Remorse of Conscience

Remorse of Conscience is the debut full-length record from New Hampshire experimental metal trio Agenbite Misery. The album was written over the course of 2023 and recorded in 2024, entirely self-produced by the band, with mixing by Eric Sauter and mastering by Brad Boatright. The recording sessions were a direct extension of the trio’s collaborative ethos: a commitment to honesty, maximalism, and transformation. Each of the album’s eight songs adapts a chapter from Ulysses, using lyrics pulled directly from Joyce’s prose and reshaping them into brutal, beautiful sonic forms. The band sees each track not merely as a song but as a new translation, an attempt to convert stream-of-consciousness literature into aural energy.

Preorder Now

“Inwit’s agenbite. Misery, Misery!”

Agenbite Misery is a New Hampshire-based trio that fuses literary ambition with the visceral force of experimental metal. Formed in 2022 by guitarist Sam Graff, bassist Cam Netland, and drummer Adam Richards, the band emerged from a shared academic background in literature and a mutual devotion to the most extreme and boundary-pushing corners of heavy music.

At its core, Agenbite Misery is a project rooted in transformation. Their work doesn’t merely incorporate influences, it dismantles them, reshapes them, and recontextualizes them within a vision that is as cerebral as it is punishing. Their sound weaves together elements of black metal, sludge, death metal, post-punk, ambient, and noise rock, unified not by style but by intent: to confront, to immerse, and to challenge.

Individually, the members bring a history of musical experimentation: Sam Graff and Adam Richards were longtime collaborators in the avant-garde project Under Green Suns and the Boston metalcore outfit Vicarium, while Cam Netland previously fronted the Connecticut stoner/black metal band Coagulate. Together, they’ve forged something entirely distinct, a collective voice that draws from their diverse histories but refuses to be defined by any one genre or scene.

Agenbite Misery exists at the edge of metal and the margins of modern art, translating abstract ideas into concrete sound with unrelenting force. Whether performing live or recording in isolation, their ethos remains constant: dig deeper, aim higher, and never repeat what has already been done.


Three silhouetted figures wearing hooded jackets standing on rocks during a sunset or sunrise sky.

Bellwether and Swine

At just under six minutes, “Bellwether and Swine” delivers a searing fusion of black metal, sludge, and militaristic riffage, pairing relentless sonic aggression with sharp thematic intent. The track adapts the infamous “Cyclops” chapter of Ulysses, reimagining its critique of xenophobia and jingoism through a modern metal lens. With pounding rhythms, towering riffs, and a vocal delivery soaked in irony and venom, Agenbite Misery turns the language of triumphalist metal against itself, mocking the very nationalist violence it so often celebrates.

Whatness of Allhorse

An abrasive, eerie, yet highly compelling sonic experience awaits in “Whatness of Allhorse”. The instrumental arrangement sees post-punk and industrial reimagined through a heavy metal lens. The steadfast, metallic and mechanic nature of the drum machine breaks through a soundscape of horror inspired synths. The song adapts section 9 of Ulysses, “Scylla and Charybdis,” a scene in which Stephen Daedalus debates Shakespearean theory with literary elites. Finding himself heavily critiqued on all accounts, Daedalus offers increasingly absurd explanations to his peers. The act of debate itself becomes of more importance than the exchange of knowledge.

A Charitable View of Temporary Insanity

Adapting the “Hades” episode from James Joyce’s Ulysses, in which protagonist Leopold Bloom journeys through Dublin to attend a funeral while reflecting on personal loss. Speaking directly from Bloom’s internal monologue, the band translates Joyce’s psychological density into a massive, genre-warping composition. The track unfolds with a gentle, ambient intro that evokes the quiet tension of a city morning. Subtle field recordings and bass harmonics set the scene before a crushing sludge riff drops in, anchoring the song’s emotional gravity. From there, the composition drifts between suffocating heaviness and moments of haunted clarity. Elements of funeral doom, acoustic interludes, blackened chaos, and harsh noise are woven together with meticulous intent

Three statues of women in traditional dress and head coverings stand on rocks by the ocean at dusk.
A band performing live in a dimly lit venue with brick walls and red lighting. Members wear hooded cloaks and play guitars and drums, while a vocalist stands on a small illuminated circle on stage. Audience seating is visible near the performance are
Four figures dressed in blue robes standing on rocky shoreline near water, reflections visible in small pools, ocean in background, overcast sky.
A musician playing drums inside a venue at night, visible through glass windows.
A man in a hooded jacket playing an electric bass guitar and singing into a microphone during a performance.
A man with a beard in a hooded jacket is playing an electric guitar with a microphone nearby. The scene appears to be in a dimly lit indoor setting.
Silhouettes of three people in blue raincoats on a rocky shoreline during sunset, with pink and purple clouds in the sky.
A rocky shoreline with a small tidal pool reflecting the cloudy sky, near the ocean in the background, with three blue-clad figures standing around the pool.
Three people dressed in blue robes with hoods, standing on rocks outdoors against a cloudy sky.

Join our mailing list

Stay up to date on all the agenbits