Hey this cadaver on the cover must be today’s big favourite becouse this is the third time I see it appearing in all its adipocere coated ugliness in just a few months (namely Bitch Infection and Putrescence debuts) before seeing it reappear on this Sordid album, eh. Anyway cadavers are always cooler than metal chairs in a empty room, fractal lights or policemen beating punks. So for me go for it if you want to reuse this again, ah ah. The layout looks a bit weird but it’s not bad in the end, if a bit too glossy. Lyrics span also every topic from iconoclasm to visions of armageddon, social problems, sexual abuse, introspection, you name it; things are not incredibly clear here. But they say what’s important is the music, as usual, and from this angle the style is clearly defined. The overall sound here is just fantastic, with a incredibly dry, loud snare drum and a extremely rough edge on the sound of the guitars; add a double level old school growling vocal approach, and short to the point songs to the mix and you get something close to this. I won’t say that Sordid has inherited all the dissonance of first generation post-punk noise-grind, but I am very happy that they also stand far from today’s trend of writing neat, atonal sharp riffs with pissed off screams a la Discordance Axis or Agoraphobic Nosebleed. This is more like rough, shitty, natural grindcore and I love it this way, ugly, instinctive and pointless. These strings are pulled as to make maximum noise, and not just to create cowboy grooves or some breed of northern European crust, which is also just a turn on. This is a non-standard yet old fashioned grind massacre, always welcome!