I am not entirely certain this is going to be a definitive thing, but for the moment being, Nuclear Abominations is switching to Italian language in his own space. I might be back here if someone asks to have his records reviewed in English language but unless it is specified in the promo package every review for the moment is going to be made in my native tongue.
I am getting the hang of doing these Necrospectives (which is a feature I actually contemplated for a long time). This time I am up with a very long list of albums by a fundamental band from my first steps into the world of Death Metal and Grindcore. My views on the subject are quite atypical so I can imagine I’ll have several complaints about the ratings ah, ah. How funny to have a blog about records where you can write anything you wish.
pre-Deicide (Amon 1.0)
Amon, or Aamon, is a great and mightie marques, and commeth abroad in the likenes of a woolfe, having a serpents taile, <spetting out and breathing> [vomiting] flames of fier; when he putteth on the shape of a man, he sheweth out dogs teeth, and a great head like to a mightie <raven> [night hawk]; he is the strongest prince of all other, and understandeth of all things past and to come, he procureth favor, and reconcileth both freends and foes, and ruleth fourtie legions of divels.
I will be honest here, I don’t remember having heard of Deicide before their self-titled full-length when the name exploded with all its bombastic tongue-in-cheek Satanic propaganda. I only managed to hear the stuff from these two demos a hanful of years later when Roadrunner released the “Amon” compilation (I also have a funny story to tell about going to the Vatican with a longsleeve from that record back in 1993, eh). These recordings however, are SO full of malevolent energy I can’t even properly describe their impact. They certainly have a more Slayerish flow and a somehow thinner sound, but at the same time the vocals are much more malicious. What is lacking in the sheer brutality that is/was the leitmotif of Deicide is replaced by sheer atmosphere, the almost serpentine gargling whispering words of blasphemy immersed in an environment of pops and crackling typical of the old analog media. There is a lot of hidden black energy in these recordings, which places them in my humble opinion on the same, maybe slightly better, position as the debut.
All the previous Amon tracks have been re-recorded for this debut, with a completely different sound. The crepitating, slithering evilness of the earlier recordings have mutated here in a work maybe less evocative, but definitely of greater impact. The sound is still very dark, especially considered the year in which this album was recorded. At the time Deicide was one of the very few bands widely known beyond the small circle of people with a decent knowledge of underground music currents (that sounds like a million years ago), not just for the gimmicks of using decomposed meat and blood on stage and all the shit about Benton branding an inverted cross on his forehead or alleged suicide at 33, but also for their unique sound that included among the fastest double bass drum in the world. Certainly one could argue about that today, but it was all that people not listening to this music knew: I had some friends into “other scenes” asking for recordings of this album for years. I remember being quite perplexed about the comic book used on the album sleeve, where this monk is being turtured by demons, it just felt so out of place, but taken as a whole the layout was rather effective, front cover sigil and all (wished they stayed on this path anyway).
Deicide was definitely a sensation from day one: massive, fast, no-nonsense. The lyrics on this album are still not very definite, but effective for the aural butchery that is the record. I would say it’s an all time masterpiece, if it had not the unluck of preceding “Legion”.
Deicide was a very big blast in the underground in my city as well as all in a sudden I was surrounded by a very dedicated core fandom. I can certainly relate to that: they were killer. It was also one of my first Death Metal gigs ever when they toured with Gorefest in 1992 (my first show was probably Carcass in Rome in 1990 which, strangely enough, also featured Atrocity) and the first time I was realizing that Death Metal was assuming a constant presence in my country as well. Concerts at last were not just anymore attended by drunkards and punks. Then one day I just stepped in the local metal shop and bought this vinyl record. I still vividly remember the horror of seeing the sleeve being chewed by my dog which at the time was a puppy when I was having dinner but placing this album on the record player for the first time was life changing and had me forget everythung – just the same emotion I had the first time I spinned “Reign In Blood”. I knew Deicide already, but this was something entirely different. This was HELL – accurately described in detail and carved in the bones of saints, a masterpiece built on the heads of decapitated holy men. Unholy fucking shit, this album is so razor sharp, obscure and devastating there is no reason why anybody should not own it. It is one of the 5 best Death Metal records of all time, period. Sooooo incredibly inspired. The lyrics are a mix of Satanism and occult lore, free of that shitty tongue in cheek humour of the following records. This record is absolute perfection: it manages to create an immensely powerful evocative picture of an infinite massacre, a land without god where inconocalsm has crushed every single spark of life. I have no words, really, to describe how immensely amazing this album is. It is EVIL incarnate, distilled ona record. La Fin Absolue du Monde made music.
Vote: 10/10, absolute Masterpiece
Once Upon The Cross, 1995
Deicide in 1995
By the time this record was released, I already perceived some cracks in the freshness and energy of the whole Death Metal movement. Mostly all the big bands of the time had released either mediocre or outright ludicrous albums so my expectation for this new Deicide album were high. But with a grain of salt firmly in my grasp. I started to notice something out of place when I started seeing boys in my school buying Sepultura merchandise and I mean, typically average guys all in a sudden were asking me about Mayhem and Cannibal Corpse, my bullshit detector was very high at the time and this time it was itching terribly. Nothing could have prepared me with the complete delusion that was this album, however. Where the fuck were the dark blades of sound ripping through the flesh of my ears. Where was the eerie gurgling of blood dripping from Benton’s vocals? Why the fuck did they have a comic book Jesus on the cover? What were those ridicolous song names? What the fuck was wrong with the vocals here, and more that everything else, when does the album START? Hearing this shit was more or less like going through a torture of increasing disappointment. By the time I heard “When Satan Rules His World” which is a song you can basically dance at at the prom, I understood the band was completely lost. The line up was the same but the songs were just plain tarantellas with heavy distortion. No punch, no in-your-face brutality, just happy dance songs for the brainless college monkeys like the subhumans in my school. When these “regular guys” came to me asking if I heard this fantastic album, hoping they could enter my circle of friendship I understood Death Metal lost another big piece on the way.
Vote: 3/10 (could be 5/10 if it was not released after “Legion”)
Serpents Of The Light, 1997
By the time this album was released I was pretty much disillusioned and definitely done with Deicide, the sound of the tammuriata at the shore of the gulf of Naples still haunting my sleep. Despite my abysmal expectations, I nevertheless found this album more than decent. The deicide-style song structures are on this album completely turned upside-down. The sound is still powerful but there is an added share of speed: instead of going back to their old sound they preferred to walk a much more typical path but the overall product was OK in my book. Sure the solos are not product of the schizoid rapture of their first two albums, and the consolidated American “chliché” sound was way more definite here but, despite not being as original as before, I dug this album pretty much. It’s fast, it has a couple of very powerful choruses and, while it has still ridicolous lyrics somehow I don’t find them as cheesy as the one before. The cover art is so ugly it challenges Morbid Angel of this period, really what the fuck was going on in their mind when they designed it is beyond me.
Things changed once again here, taking a simplified, sometimes almost minimalist take. My problem with this album is that you can’t be pushy if you rely on sound compression to create powerful music. If you try to play this stuff on shitty gear you get basically nothing in your hand. Mixing in slow, measured riffs technically might have added some extra punch to the album, especially after the super fast “Serpents” before, but I don’t know, Deicide’s major leverage is certainly not in the quality of the single riff. They’re no Incantation nor Asphyx, and when you chop down a monolithic in your face sound like theirs in such a way the result is definitely not particularly exciting, and certainly not inspired. I haven’t even bought this album, Deicide being more or less a closed chapter for me, especially after the following one.
The nicer thing about this album is probably the cover art, for once a little classy, following the dictations of this more austere approach.
In Torment In Hell, 2001
Derivative and uninspired are certainly the first words that come up when looking for adjectives for this album, which follows the lines of the preceding one but trying nonsensically to reheat some of the older shit. This idea isn’t particularly hidden either, considering the cover art is a mix of all the previous album covers. Unluckily not always mixing good ingredients you get the sum of all parts. Music, like cuisine, is a matter of good taste, balance, daring end enthusiasm, all four elements completely missing here. Last time I heard this album was the week it was released, and I am not giving it a new listen to refresh my memory on some lossless sound clips I deservedly downloaded illegally. Fuck it, you don’t really want me to actually PAY for this stuff? My memories were pretty much accurate however, no real juice to be squeezed from this dead body. The only thing I appreciated is the solos are quite decent as are some of the riffs, but arranged in this way you don’t really get much. I am not sure I remember correctly, but I read somewhere that the band itself pretty much sneered at this album too, since it was just a rushed up (1 mere year is actually little for songwriting unless you’re Motorhead) attempt at wrestling out of Roadrunner for which they had a contract to fulfill. In any case, let’s just skip this album, it’s not worth much.
Scars Of The Crucifix, 2004
I reviewed this album before with a little added enthusiasm 10 years ago now (ah, being young ah ah). In any case I still believe this album was a good come back, especially after the failure of the amazingly generic last one. This is an album that I got as a promo from Earache back then, so I managed to listen to it on a normal medium, ah. It’s a rather good comeback in my opinion, finally balanced and spot on. Hoffman/1 has learned to write good solos but has the taste to cut them short and leave his brother Hoffman/2 lead the way the classic Deicide way; pummeling, chugging, crushing without remorse. All the arrangements on this album sounds just very right in my book, the vocals are in perfect shape and there is a good load of good old screams adding a layer of malignancy not present since maybe the Amon days (“Legion” is an album that stands on its own). The cover art is also finally something work taking some minutes having a look at. All in all, I deemed this album quite fine, probably the best of their second life.
The Stench Of Redemption, 2006
In 2006 Earache sent me the promo for this one as well which I listened to almost entirely on my car stereo complete with those unpleasant anti-piracy interruptions and obviously missing lyrics and complete packaging. I think that “The Stench Of Redemption” is potentially a very good album too for Deicide 2.0, the only thing I find completely out of place are these over the top solos, completely out of place in this mix of crushing brutality, possibly just there for the ego of Santolla. Who cares for this shit is beyond me, I never saw any overlapping between power metal and Death Metal. Yet Deicide’s new guitarists succeeded in evolving the sound of the band that lead us to a new territory and it somehow works out quite decently. I really do like the way the rhythm guitar throws in the mix an incredibly varied plethora of experiences, still managing to fill every second with layers over layers of sound and, thanks to a monstrous drumwork, leaves no time for breath. Mature in an unpredictable way, I found this album ripe and juicy, with just too much sugar on the lead solos.
Til Death Do Us Part, 2008
I caught up with the latest 3 Deicide album just recently after a long pause of complete disconnection from their works (and well, many other bands as well), preferring more obscure, less promoted releases. What I think of this album is that this is possibly a second try at Insineratehymn (meaning a more thoughtful, slower, more evocative version of Deicide) that this time fell short for the opposite reasons. While the previous two albums were complex in a ceremonious but still orchestrally balanced way, I can’t really find any convincing connective tissue between the songs on this album. Shaking off my eyes the horrendous embossed effect on the logo (which might be forgiven to the band members, but not to the graphical dept of Earache) is difficult, but swallowing the whole plate has been even harder. It’s like a French dish, apparently good but relying most of its taste to butter and fat. You can’t really make a good album throwing all the shit that your creative skill brings up to your mind, some songs really sounds like they’ve been sewed together with thick twine. All in all however, I can’t say it’s totally shit either, just some album that can’t probably pass the test of time.
To Hell With God, 2011
Could be the somewhat insipid, bland sound but this albums is lacking completely one of the old trademark Deicide aspects: darkness. Even when blasting full force the band always managed to sit in the gloom of Satan’s ever reaching hand. Not here, at least from the way I am perceiving this shit. Even he screams that once added a level of enraptured folly don’t really make it, and some riffs (hear the song “Conviction”) are just plain boring old stuff. After such a a marathon, going through the whole band discography, I might be a little exhausted but this stuff just doesn’t click. The formula is more or less the same of the one before, but this album sounds incredibly prosaic and useless, not just unrefined. The cover (oh my, the embossing) is good stuff, not so the music within.
In The Minds Of Evil, 2013
All the previous intricacies have been unraveled on this album. Deicide this time chose to play fair showing everything that is going on in their songwriting all across this album, getting rid of choruses and screams among many other refinements. The main problem is that under the hood there seems to be very little left. This album sounds totally routine to me, sometimes the levels of dullness and horrible chugging of “Once Upon The Cross”. I never heard Deicide to utterly flavorless. Not a bad album if it was a teenager demo. For a Deicide album however, the curtains seem to have been pulled close once again. I gave them for dead more than once however, so who know what are they going to show us next time.
That is all. It’s been a nice trip, if completely exhausting. I perfectly know many of you are going to be offended by these reviews, but go ahead and make your won blog, ah ah! In any case I enjoyed writing this. If you have a band that you’d like to get covered in a similar manner let me know. I basically NEVER review stuff that I don’t have in physical format, but I am prone to do it for these biographies for very shitty albums.
I am going to see the band live in a few days I have seen this band live a few days ago so I thought I’d give a spin to these old records once more before the show and share a little bit of thoughts on this great stuff.
The 7″ on Corpsegrinder and the MBR Cd
Macabre End “Consumed By Darkness” demotape/7″
The band started out as a group with a swedish name – which I THINK roughly translates to “The bottom of the bottle” – which I have never had the chance to hear. In any case that’s not of any relevance as this demo is where the good shit started to grind. Macabre End’s (and God Macabre too) sound could be described as a thick blend of Carnage chunky riffs, Paradise Lost harmonies and some Autopsy sickness here and there. Being Autopsy my all time fave band, with Carnage in the top five right behind, I think it’s superfluous to say I pretty much worship this kind of stuff. To simply define them as melodic Death Metal would be blasphemous since the real core of these songs is brutal, downtuned and straightforward, with a rather powerful vocalist on top of it all. Where the (early!) PL influences I mentioned before could be heard is not within the single riff but mostly in bridges and well distinct sections so that no overall brutality is compromised and at the the same time they add variety to maintain freshness and substance, The demo tape DOES have a different sound actually but for once the new mix on th 7″ does not compromise the face-forward brutality of the Swedish sound and I would dare to say for once that some keyboards, when properly placed, do nothing to diminish it either. The songs are the same though and Corpsegrinder in my opinion used to delived yet another good bullet here for its short life span.
God Macabre “The Winterlong…”
The band changed name here for a MLp on that weird label Mangled Beyond Recognition which also gave us orgasms with releases like Crematory, Insanity and the vinyl repress of Grave’s awesome “Anatomia Corporis Humani”. The sound didn’t flinch at all from the previous recordings as we still have the truculent, tenebrous, Carnage core (I can’t really play a shit but I would bet at least two of these riffs are also present on “Infestation Of Evil”) with slow, grinding and malignant passages typical of Autopsy and those earlier British attempts at a more melodic (but not mellow) form of gothic-Death. At 30-score minutes, it is considered a Mini Lp even if in the post-Reign In Blood era I guess we could have stretched it a bit and define it a borderline full-length. One of the song (“Spawn Of Flesh” which from what I read has supposedly a “vegan” message) has been brought here from the Macabre End days. I don’t have the Relapse version but from what I read they included the Macabre End demo in that new edition. The guy in Nuclear Winter told me years ago he was considering releasing this album on vinyl. How it ended up being pressed by a different label instead is a story I have no information about. The cool news is Relapse is pressing its own vinyl version this year with a limited edition colored vinyl only for their mailorder so if you missed it back then this is the right time to act. The diehard version comes with a cool set of action figures as well. Just kidding, eh (that is Grave).
“Eve Of Souls Forsaken” Live
We are living in hard times, where you have to be quick or very rich to get all the cool shit that gets released (or re-released). This is a limited edition live from 1991 which saw the light a couple of years ago and gets sold nowadays for over 100 bucks. Alternatively you could be a dick like me, and don’t give a fuck about live albums, ah ah! I admit it would be nice to have anyway. I have never heard it so I can’t give you much more detail on this release.
Guitarist Ola used to write a fanzine called Suppuration, some nice guy scanned it and created a gallery on VKontakte, download it here if you want to have a look.
2013 Concert in Italy
Like I said before I was lucky enough to attend to their show in Brescia (which I have been told was their first show ever out of Sverige) during which they really managed to crush everything. The sound was massive and the vocalist still has the same deep, powerful vocals. Have a look yourself at the show, I took these videos with my phone in a rather unfortunate position, so please forgive me for the sound quality.
Argh, this is one of those nightmare cases when I don’t really have an idea on how to store a record. I got this seemingly unknown Cd-r together with a tape cover, so I could either use a deck and copy the songs on a standard tape or store the CD-r as it is in the inextricable forest of CD-r and random formats on my shelf. In any case, I probably lost the envelope and accompanying sheet so I have no clue who sent me, nor any extra details. I can only presume the band is Italian as there is an address of an Italian distro added by hand on the envelope. Who knows. But. It was in the big pile of stuff to review so regardless how it fell there, it deserves at least a note.
This band plays an hybrid of noisecore and black metal, in particolar I’d say the first 3 tracks are definitely more noisy and the latest one more on the traditional side, but nevertheless you can say it’s the same band all the time. The first songs are just a mix of super-distorted cyclical raw noise without any sort of melody, yet if you listen with some attention you can hear there is some structure in the background. I am not much into these screams but I think they complement decently with this raw mass of corroded chords, especially because they tend to disappear in the background. The good thing about the vocals is they sometime turn into bellows of agony, as if someone is being grinded into some machinery. I won’t rate this tape as mandatory, but it’s certainly better than most of the “plastic lame and weak” black metal of today.
I got this promo Cd a couple of months ago with a letter that stated “we play goregrind”. Actually I think the band is certainly brutal but I won’t rate this music as pure goregrind, despite the hyperblasts and the super-guttural vocals, as the metal inlfuence here is definitely too big. Would you rate bands like Enmity as “goregrind”?
In any case let’s start with the packaging: I really dig the twisted cover art that looks like some deranged mix of Miguel Ángel Martín and Turkka G. Rantanen, it certainly sets the stage for something sick. The booklet is non-existant as it’s just 2 pages and the inner fold contains just the logo, but I think overally this minimalistic style is OK. What’s interesting is that there is no tracklist whatsoever, just like our old beloved Sublime Cadaveric Decomposition.
Like I stated before, here we are in front of some experimental kind of extreme, chaotic grinding Brutal Death in the vein of Enmity or Intense Hammer Rage. While the meaning of the term grindcore certainly shifted during the last 20 years, I still figure of it as a genre that should have a combination of very raw and dark sound, and borderline dissonant riffs, and most of all, being totally unaware of what’s going on. Despite the speed and multiple layers of sound the musicians here seem to always be in control of what is happening. I like the whirlwind guitarwork as well as the furious blasting however, as these guys really know how to fill all the corners of sound. Mix in some heavily distorted vocals and you get a bleeding carcass mutilated by a million razords for the lovers of the genre. All of the songs are very short, between 1 and 2 minutes in length, but they still manage to throw in some interesting variations.
Bowel Fetus was a band active for a couple of years from 2004 to 2008 which concocted a weird mix of Doom and Goregrind. Glen, the man behind this project, was so kind to send me a couple of promo Cds together with some old stuff I ordered from him at the time. Even if the band is probably dead by now (Glen if you read this, get in touch!) I feel like reviewing these two albums just because fuck you, that’s why, the band was awesome. And besides, it had a really nice logo.
Bowel Fetus / Offal (Aus/Bra) “Putr-essence” split Cd 2008 The Hole
Offal is the only still active band among those featured in this post. I don’t know how much Andrè from Lymphatic Phlegm considers it a side project rather than a fully certified band, but in any case this stuff is quite good. He started Offal as a tribute to Autopsy and Impetigo, but I could dare to say they don’t really sound much like neither, except for the horror movie samples. If I had to attempt some comparison, they really sound like some of those old Carcass-inspired demo bands from Scandinavia (or Fennoscandia) of the late 80’s-early ’90s like demo-era Xysma or Traumatic, clearly less “pathological” than these. Most of the songs are mid tempos and the varied use of vocals is decently done. While I definitely dig the genre, I think Offal lacked here a bit in pure sewage tase in the arrangements.
Bowel Fetus here deploys two tracks of his top-level Gore/Doom in the vein of Catasexual Urge Motivation meets Autopsy meets dISEMBOWELMENT and you know, for a one man band this stuff was definitely good. Just like CUM, slow crushing riffs seem to linger forever just to be replaced by furious Mortician-like blasts all the while floating on our beloved sick Autopsy dissonance . What’s more impressive in my opinion is that while certainly the songs are not overly complex, Glen doesn’t throw in a single wrong note in these tracks.
The case is cardboard which means start looking for a plastic film as soon as possible if you get it because it gets ruined very fast. The sleeve contains also a lyricsheet which is quite unusual these days, at least for Offal, since Bowel Fetus, afaik, has no lyrics. Oh and the disc itself is a beauty, red both sides.
Ah, FMD, one of my favorite underground labels. Pure DIY mentality and lots of musical deranged psychosis. Fecal Matter grabbed Canadian goregrinder due Canker and Bowel Fetus for one hell of a spliit here.
Bowel Fetus opens up their side whose cover this time delves less into gore and more into sick scat-urine imagery. The sound itself is here also extremely deep, rough and bass-heavy. with a weird background noise similar to some electronic component gone awry. I really like thes etracks, possibly the best, heavier and sicker Bowel Fetus recorded. While the slow Disembowelment/CUM bridges are present in the second song “Clown Suck”, Glen decided to go knee deep into the goregrind soundscape here, maybe as an homage to the label. Te vocals are too a deep liquid yet very low gurgle, perfect for the job. All in all this is a flawless recording.
Canker’s story, for those new to the name, is seriously spine-chilling as both members of this band committed suicide in respectively years 2006 and 2007. Their sound changed quite a bit over time and these tracks are a bit on the noisy/garage side with one of the strangest mixes I have heard especially for the percussions. Songs are typically 1 minute average with a bass-guitar sound that is more like a broken string but at least apart from the trademark goregrind vocals everything here is played with real instruments, so much so you hear “recording” sounds in the background at the start of every song. I have listened to so many bedroom goregrind projects over the years that hearing honest garage sewer shit makes me feel almost nostalgic.
The packaging is the typical FMD CD-r with home-made color xeroxed covers in a plastic sleeve. Both bands recorded urine and scat-themed songs for this split, and the cover artwork corresponds.
Here we have a tasty little package from this relatively young Spanish label specialized in goregrind, cybergrind and gorenoise. This splendidly bloody package includes
ECR7 VV.AA.:”50 Years Of Gore (1962-2013)” compilation Cd 2013 (this is also a free download)
ECR 9 Cannibe/Septic Autopsy/Infected Gastroenteritis “3 way of Infected Autopsy into the Cannibalism” 3 way split Cd 2013
ECR12 Necropodridal Cadaveric (Arg) “Recolección De Regurgitaciones Putrefactas” Cd-r 2013
– Cunt Pus Ingurgitator (USA): “Impulse To Fuck A Headless Whore” Cd-r 2013
50 Years Of Gore (1962-2013)
Reviewing compilations is always a pain in the ass, and when they contain so many bands it gets nigh-impossible to properly cover them all, so have a listen at the whole thing on YouTube (only 1 song per band, the Cd-r contains more) or download it straight from the label’s website. My copy is numbered so if you want to order the physical one for you, be fast: only 50 have been made. I have no clue what 1963 stands for as the picture on the cover looks like a frame from Bad Taste, but here it is, 50 years of gore!
This compilation has a little bit of everything. Some of the bands have a slightly more Brutal Death feel like Gruesome Bodyparts Autopsy, Losteror or Clogged Orifice, others are more radical gorgrind such as Melanoma, Fungus Infection or Dash the Brain Out, while others yet are stricly cyber grind such as Urethrorroea, Clostridium Difficile Infection, Dr. Aochider and Urophilia (clearly inspired by Libido Airbag) and yet some more deranged stuff like this freaked out Anaric feat. Mr. Pin (?) or noisegore as Terrato Naso Coprophiliac Algolagnia. My favorites in this sea of shit are probably the inenarrable Hydropneumothorax, good cyber shit, and the noisy Turulopsis Glabrata and Ascaris Lumbricoides. But really, there are few weak spots here. All in all this compilation is excellent from start to end.
Cannibe/Septic Autopsy/Infected Gastroenteritis “3 Ways of Infected Autopsy into the Cannibalism”
Cannibe is a somewhat prolific band from my country playing some kind of raw, almost garageish goregrind that reeks of bile and disscted homo sapiens. I’d dare to say they have that un-groovy, bulldozer crunch of earlier Dead Infection. We don’t really have that many completely human lineups in this genre today so I am always eager to hear new stuff from them. The seven tracks included in this split are taken live and decorously walk the thin line of totally tape rehearsal sound thanks to their really thick sound that stays distinct all the time despite the obvious limits of the recording gear. There are certainly no virtuosisms in goregrind (thanksfully) and the combination of good equipment and the simplicity of the songs pan out a couple of neat, intelligible tracks foir a total of about 10 minutes. Just as a note – one of the seven tracks is a Haemorrhage cover.
Septic Autopsy from Mexico I know little about except a past release on Human Discount records, but I definitely love this shit. Somehow bands from the southern states always manage to recreate a real musical massacre properly mixing an intricate stop and go madness of churning riffs and gargling vocals. They migth remind a bit of a more goregrindish, earlier Disgorge, with their amazing atonal and unpredictable and yet brutally in your face intermittent tempo changes. This is one of those bands that makes you feel what it is to shove your hand in a blender with a nasty sick, dense sound and not a single second of breath.
Infected Gastroenteritis from Greece has definitely stronger “digital” or “cyber” component compared to the previous two. While Septic Autopsy too use a drum machine it does not sound as artificial as it sounds in these tracks. The vocals are an heavily distorted roar, oscillating above a carpet of hyperfast drum machine beats. There are also a couple of samples between the songs but they don’t overlap with the tracks, they’re just used to separate the short songs. While the first tracks are more noisy a la Autophagia (just to stay in the neighborhood) the last ones explore the territory of liquid-gorenoise like Urine Festival and Tumour. This is a band which probably hasn’t explored its full potential.
Necropodridal Cadaveric is a brand new band from Argentina and as far as I know this might be their only official release available at the moment, which luckily collects also their 2007 demo and a previously released split EP (with SESOS TRITURADOS). The most relevant thing about this album is the absolute primitivity of the songs. The structure stripped to a minimum and the drumming blasting basically with no precise direction chumming up with cricket vocals in short bursts averaging one minute or so. I like the barbarism and almost vulgar austerity of these songs even though I am not much into the cricket style vocals which better fit US slam bands which is a genre I don’t follow much. The vocals however are not always as static as a boulder, and when the slightly more open roar chime in, the recipe works rather well. For some reason I found myself enjoying even more the older demo tracks which have a low quality, sick texture which if fundamental for this genre. There are also a couple of bonus tracks at the end with a different sound than the earlier ones, probably recorded in a live session. Good shit, anyway.
The Cd packaging is rather good, like the other Emocaust releases, being a collection of decomposing corpses and rough surgical dissections.
Cunt Pus Ingurgitator
Here is another 50+ tracks from that morbidly prolific guy known as Bob Macabre (including a previous 2012 demo “Slicing A Corpses Vagina”. This guy has released more albums, demos and splits in the past two years than Nun Slaughter, Sabbat and Agathocles combined. This means at least that he is aware of the sound he wants to recreate. His project CPI is pure gorenoise, the kind of stuff that a dozen years ago could have been released by Fecal Matter Discorporated. I generally enjoy this shit: it is chaotic, noisy, chock full of imprecisions of mistakes that add consistency rather than spoiling the songs. Thanks to these leaks and imprecisions the music raises to a level of variety that the drum machine could never guarantee. “Impulse To Fuck A Headless Whore” is a bit faster and way less varied than stuff from, say Anal Birth or Biocyst to name two, but the songs are so short (the whole Cd-r is 33 minutes long) that this is scarcely an issue. For lover or multilayered noise with a porn-gore imagery.