Something gory this way comes and it is in the insatiable shape of Involuntary Organ Donor, the new EP from US gore thrash metallers Mangled. Offering three uncompromising slices of barbarous brutality spawned in a vat of caustic thrash and speed metal rabidity then further infused with death metal violence, the latest unleashing from the Atlanta bred assault is simply invigorating.
Formed in 2011, Mangled has preyed on ears and psyche with increasing relish ever since, as shown by 2012 demo Tales from Beneath the Street Vol.1 and the Sewer Metal EP that same year. 2013 saw Tales from Beneath the Street Vol II: Live Sewage uncaged, a live album followed by what seems like a hiatus of sorts in 2014. Whatever the reason for the world to mistakenly feel safe again, the band returned last year with even more carnage in mind as evidenced by the new Boris Records released Involuntary Organ Donor.
The release opens with They’re Not Gonna Stay Down There Anymore. Its earthy visceral intro provided by Mikael Simpson of retrowave/horror project Phantasma, is a sonic stalking of the imagination which festers menace and a climate of distrust evolving into a web of spicy grooves and predacious riffs and rhythms. The full emergence of the song is a prowling coaxing, the instrumental biding its time and even when it hits its thrash fuelled stride still has an intimidating restraint to it.
It is a potent lure which, as its finale gets fiercely busy, slips into the waiting hellacious jaws of the EP’s title track. Involuntary Organ Donor similarly has a stalking rabidity to its entrance but soon viciously goes for the jugular led by the scything swings of drummer Joe Sweat and the raw, confrontational riffery of Rafay Nabeel and John Manger. The raw throat scarring vocals of Ryan Ritchie inspire even greater animosity within the encounter, the backing tones of Matt Moyer as enjoyably intrusive as his fingers spill more spite courtesy of his bass strings into the animus at the heart of the tempest. With grooves a juicy blooding of the imagination and adventurous twists and turns with the ravishing a spark to an even greedier appetite, resistance to its butchery is willingly put aside.
Butchery Loves Company completes the sonic slaughter, its senses flaying swing alone igniting another exhausting time for the body whilst the melodically toxic imagination of the guitars take care of the imagination. As to the beating offered by the rhythms and the crippling nagging of riffs, that simply leaves a mark that lingers beyond mortal skin.
All three tracks thrill and punish simultaneously, with the last maybe stealing the show and the writhing carcass of your final days of feeling safe. For fans of thrash fired death/grind metal, Mangled and Involuntary Organ Donor is a serious consideration to be violated by.
Sure to split as many opinions as it will ear drums, the new album from Swedish metallers RazorRape is one riveting horror show of visceral intensity and sonic pestilence rapped in carnivorous grooves and a vocal delivery bred from the fiercest wildlife. A fusion of death metal and gore grind further loaded with a creative devilry best described as an aural equivalent of a Hieronymus Bosch painting, Orgy In Guts sees the Malmö duo of drummer/vocalist Martin Schönherr and guitarist David Mauritzon dripping blood, sex, and mayhem from every savaging masquerading as songs. It quite possibly is the band’s finest moment; certainly it is their most compelling, starting immediately with the outstanding Illustrious / Robert Zimmermann created cover wrapping its torturous landscape.
From opener Bonesaw Facefuck, band and album descend on ears and psyche with brakes locked off, the track unleashing a violent tirade of rabid riffs and corrosive rhythms. It is soon breeding increasingly enticing if senses searing grooves whilst vocally Schönherr spills his guts, though as hinted in the song and more inventively across the whole of the album, there is a rich and powerfully pleasing diversity to his delivery which at times even outshines the musical variety on show. Lyrically who knows, words all come out as a pestilential torrent of texture and sound. We cannot even say if it comes in Swedish, English, or Mongolian but we can testify it, as the ravenous sounds, just gets under the skin to spark ears and imagination.
The impressive start continues through both A Beast of Human Waste and Holy Gory Glory Hole, the first a predator from its first breath and growl. Staggered swings and riffs merge to share the assault with all out ferociousness across an ever developing scenery, the track inventively mixing up the carnal savaging before its successor thrusts the listener into a sense stripping, flesh devouring, sonic wind-tunnel. It too is unafraid to fling a tangy groove into the tempest as well as jumble up its gait and fury to fine effect.
As with numerous similar genre offerings, there is a surface similarity which often cloaks the individual character of some songs but as incitements like Spinal Cord Impalement and Vomit Drenched In Mucus reveal, let the ravishments consume, and at times numb, whilst delving deeper into the slamming turbulences only leads to the discovery of generally unique identities. Both tracks offer such proposals, they as next up Choking On Feces and indeed the album’s title track, sharing many traits within their unbridled riff driven hostility but equally uncage plenty of twists vocally and musically to set each aside of another.
To be honest at this point RazorRape have got the job done in drawing plaudits and appetite but they only dig deeper, the previously mentioned song Orgy In Guts an offal strewn bloodbath of sound raising the ante before Black Flood Of Body Fluids swings its thick bones and pus spewing animosity in a rancorous swagger complete with sonic and acidic corruption. As great as they are both have to submit to the glory of the outstanding Bitch Butcher Boogie, a song best described as Cajun grind. Throwing itself on to ears with a rockabilly groove aligned to country bred melodic flames which further erupt within its nefarious shuffle, the track provides two minutes of dirty, insidious, and mercilessly addictive primal depravity.
It is a pinnacle few tracks can match though the likes of the breath-taking, energy eroding Grinding The Dead and the just as hellacious but even more merciless and crushing Rampage In Red give it a more than fair try whilst Rot In Excrement crawls over the remains with its scourge of sonic malevolence and cancerous devilment.
Lady Gagball comes equipped with sonically toxic but contagious grooves which wind around a leering wall of rhythms and riffs. There is great bedlam to the song, especially with the unpredictable and psychotically varied delivery of vocals, which helps provide another major moment upon Orgy In Guts before Hey Whore, Let’s Gore storms over and chews up the barricades with its addictive violation of body and soul.
The album closes with Tennis Racket God, the only track which does not quite work for these ears, RazorRape offering a classic metal spawned finale with relatively clean vocals and melodic tempting. It is a fair enough offering which is easy to go with but within its first half minute a longing for the return of the sonic bloodletting and swinish/ throat blistering squeals and growls were steering reactions.
Nevertheless it cannot derail a thoroughly punishing and enjoyable trespass on the senses from RazorRape, Orgy In Guts providing grind in any shape it comes something to get down and relentlessly boogie with.
There is a certain individual sickness to the visceral charms of Brazil’s most prominent and inventive extreme metal bands, an insidiousness which seems to coat riffs, grooves, and indeed songs. That sickness is a creeping toxin flavouring the new split release from Offal and Zombie Cookbook too; a poisonous and malevolent offering which worms under the skin with infectious temptation. It is not a release which actually startles, not initially anyway, but over time emerges as a visceral sonic assassin to which imagination and emotions become playthings. A swift and lethal scourge of the senses from two bands which are potently emerging on the broader extreme metal scene, the 7” split comes courtesy of a label, Black Hole Productions, which is no stranger to unleashing underground treats from band such as Lymphatic Phlegm, Xxx Maniak, Haemorrhage, and Gruesome Stuff Relish.
Offal is first up on the release, a quartet from Curitiba consisting of vocalist André Luiz, guitarist Tersis Zonato, bassist João Carlos Ongaro, and drummer Igor Thomaz. To the release of their well-received self-titled debut album in 2006, the band has added a second full-length and a string of splits with bands such as Bowel Fetus, Anatomia, Decrepitaph, and Mausoleum, all helping to increase their reputation and stature in the underground. References to Autopsy and Carcass have been cast over their sound, and as opener Dementia Trash. The Cult Of The Low-budget Cin devours ears it is something to agree with yet only slightly flavours the band’s voracious sound. Riffs are an immediate scrub of aggression in the song, swiftly backed by the thunderous and turbulent assault of rhythms. Lorded over by the dark coated cavernously toned growls of Luiz, the track is a mix of predacious stalking and rabid intent. It is a rather compelling proposition gaining greater strength of persuasion across its length, imposing sonically and in success as its narrative courts the craft and blood-fests of cinematic gore/cult b-movie movie pioneers like Herschell Gordon Lewis, Ed Wood, and Roger Corman.
A great incitement for ears and imagination, the band’s second proposal Spinal Extractions Fiend For Blood is a more savage and irritable, no make that violent encounter, and just as highly palatable even at its mere 45 seconds. It hangs around enough to get the teeth into and to ignite a healthy appetite but is too short to get as much satisfaction out of it as wished, though that want is soon fed impressively by Zombie Cookbook.
The band’s name and indeed that of its members, in vocalist Dr. Stink, guitarists Horace Bones and Ed The Dead, bassist Purgy, and drummer Dr Freudstein, alone provide colourful and mischievous bait, a lure instantly backed by their first track Motel Hell. There is thrash bred ferocity to the charge and hostility of the song, energy and creative adventure which is as psychotic as it is groove infectious. The vocals equally have a character and captivating rabidity to them which only ignites ears and enjoyment, bringing a chunk of the originality which revolves within an accomplished if familiar template of sound.
Its voracious appetite and body only gets more deviously addictive and magnetic over time, much as that of its successor Eredità Maledetta. The first of the band’s two songs ends on a great finale of pure unbridled thrash contagion, a sonic tirade plainly contrasted by the demonic seeded entrance of the second, though it does not take long for the track to expel a spiteful breath and leap into its own ravenous destructive tempest. It also is much shorter than its companion, but does offer two minutes of furious extreme metal combat to reinforce a greedy appetite as sparked by the EP to explore the band, something which applies to Offal also.
It is hard to suggest you will hear anything dramatically new on the split but with undeniably impressive songs both bands make invigorating additions to the full underground arena of extreme metal. Both Offal and Zombie Cookbook could be looking at infiltrating the broadest spotlights sometime soon too, especially if they continue uncaging beasts like those on their shared offering.
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May saw the new album from Californian death grinders Cattle Decapitation unleashed upon the world. Monolith of Inhumanity as expected from the band is a towering assault of dehabilitating extreme sounds and flesh searing bone snapping brutality. With added irresistible melodic insertions, groove fuelled hooks and veins of multiple infectious lures, the release saw the band at their very confrontational best. The RingMaster Review had the pleasure to find out more about band, album and things by talking to vocalist Travis Ryan.
Hi and thank you for taking time out to talk with us.
You are just about to release /have just released your excellent new album Monolith of Inhumanity. Is there an extra buzz inside for this one or is it always the same excitement for each release?
We are very happy with it and are excited that the reviews are so positive. Nobody wants to release something and have it bashed to shit and that could have easily been done here. We really took some chances musically and vocally, even lyrically… the things I thought people would hate, people dig. The things I thought people would think were just kinda “fucked up” lyrically seem to have completely gone over people’s heads. So it could be much, much worse and I’m surprised it’s not. People love to bash what we do based on the fact that a couple of us are vegetarians alone, so I’m surprised at the reaction the album has gotten so far. The reviews have been amazingly positive. The buzz for this one was pretty unprecedented for us because the last one was so well received I think people were just waiting to see what we would do next which is always nice.
We have to admit apart from previous album The Harvest Floor, we are not too aware of your earlier releases, yet! There was a feeling though that Monolith of Inhumanity might be your finest hour to date. I know it is hard to be objective about it for you but do you feel so too?
Yes, I see what people mean. I’m kinda taken aback by the fact everyone thinks it is so far ahead of our past records and I don’t see it as being THAT much of a difference, but yeah it is a better record and all. Just pretty weird how people are freaking so much about this one. I get it, but then again I kinda don’t. I don’t care… it is just good to see people talking so positively about something we’ve done I guess. Especially in this day and age where genres are shit out every day and kids are on to the next thing week to week. Hollow.
What is it you have discovered or evolved and brought forth that is different to your previous album?
Well, we have a new bass player and mindset going into it and I think that helped some. Personally, I did a lot of new things that people seem to be into and that’s good because it could have gone the other way which was what I expected but didn’t care to take into consideration because we make the music we want to hear. If people like it, cool. If not, oh well.
The band has never been known for being unadventurous and it is fair to say always pushing yourselves each album. How does that happen, is it a natural thing or you pick aspects and ideas to distinctly pursue each time?
Well, I think it might have a little to do with the fact that we’ve always worked at such an intense pace. Both musically and in the act of making music. We only have like 5 or 6 months usually to write a record and this last time we had a year to do it but we also have day jobs that we have to attend to and that makes it near impossible to get anything done within any kind of time frame. We don’t live with mommy and daddy, we actually pay TONS of bills and we squeezed the writing in when we could. I think writing wise we do pick aspects we’d like to explore. Such as heaviness, blackened buzzsaw parts, quirky spastic parts, etc. Making ‘em flow is the challenge.
What was the inspiration and trigger that brought the dare one say more catchy elements into the songs within Monolith of Inhumanity?
Just wanting to try something new. Wanting to write actual songs instead of a bunch of blurbs and blips and nonsensical technical prowess. Well, we did that too but we made it into actual songs this time, haha. That and looking around at what other bands are doing and saying to ourselves “OK, let’s NOT try that…
Monolith of Inhumanity is your seventh album, how do you keep the recording process fresh and exciting each time or do the songs and creative ideas do that automatically?
They do it automatically but we also treat everything very professionally. Like, we actually treat it as if there is some money to be made off it but there’s not… haha… basically, we do our best to deliver something people want to hear but its gotta be ok with us first as that is what’s most important. I don’t write the music so I’m going strictly off what I can tell is happening from the very few times I end up in the practice room. I don’t practice I only come in when they got a new song ready for me or before shows/tours. That’s my key to staying on top of shit as a singer. Don’t go to practice. Preserve the voice. 😉 WILL NOT work for everyone.
How long in the making was the album?
1 year roughly. But it was more like 5 months because of how little we got together to practice/write. Between jobs and playing one off gigs to pay for band bills every month, its a miracle we got the fucker done. We wanted to do 6 months writing, 6 months playing the shit and tightening it up but nothing ever works out as planned, I swear. Nope, we busted ass all the way up to the zero hour. I actually for the first time went into the studio without a songs worth of lyrics even written! I had to write it in the studio, it became the song “Your Disposal”.
Was there any casualties song wise or ideas wise whilst recording it or did you have everything pretty tight in your minds before going into the studio?
There were some things that were shot down. You’ll see me bitching about it on the vocal studio report. I had a few ideas of grandeur that Otero wasn’t into and there were a couple where I had to say “tough shit we’re keeping it” much to his disagreement but we kept it. Next time there will be more Dave, I’m warning you!
The album has a concept which kind of follows on from The Harvest Floor. Could you tell us about it and its inspiration?
Well… not really conceptually. Aurally and feel-wise, definitely… but not too much conceptually. THF is honestly about complete worldwide genocide and I guess you could say the same about MOI but on MOI it will have been our own doing rather than by the hand of someone else who is simply fed up with humanity. The last record was just MEAN and this one was more like “ha, told you so, dumbasses”. It came to me after much deliberation on what the concept was gonna be, what the cover and title were gonna be. It finally just dawned on me and from experience I can tell you that’s how the best stuff happens. You can’t force greatness, it must happen. If it doesn’t happen naturally, it most likely wasn’t meant to be. It takes a little away from 2001: A Space Odyssey and fast forwards thousands of years to a future where we have done ourselves in through our own technology and its by product
The world, its current state and downhill direction makes a very big and important impact on not only your songs but yourself personally?
I think about it every day. I get very nervous, anxious even thinking about it. Knowing that there are millions of tons of garbage and plastic in the middle of the pacific and that’s just one blip on the screen. Its pathetic. We’re pathetic and have zero foresight as a society and civilization. The fact we put a man on the moon doesn’t change the fact we’re still very, VERY stupid as a whole.
Lyrically your songs are as aggressive and challenging as your sounds…so not much chance of any love songs from you?
There’s a love song on the new record! I actually made a point to make one to prove it can be done and nobody would even know… its called Gristle Licker. Its about people’s love for flesh. I never thought I’d make a love song but then again I never publicly said “I’ll never use the word love in a song” and then go and do it time and time again on really, REALLY shitty records. Take that Metallica you fucking posers.
Monolith of Inhumanity is the first to feature bassist Derek Engemann, and I think wow sums up his playing on the album. What has he brought to the band that was missing or certainly different to before?
Haha… I think its funny people are so stoked on the bass playing on this one. Sure, he’s a great bassist but I think the main reason people are commenting so much about it is because you can actually HEAR the bass for the first time. I think it was just a combination of playing style and most importantly tone which is why bass always got lost in the mix. Take that away and all of a sudden you can hear it and people are commenting on it. I thought that was pretty funny. He’s a great bass player and a super fast learner.
How does the songwriting process work within the band and has it altered with Derek on board now?
We all have equal parts except I don’t write any music really and they don’t do any of the lyrics or vocals. I did write one/two riffs on Kingdom of Tyrants… that’s kind of Derek and I’s song. But that was a first and that was it. Derek has just as much input as the rest of the guys for the most part.
The track you mentioned earlier Your Disposal was the track that floored us most of all, immense stuff. It has everything on the album in one mesmeric and barbaric place haha. Please give us some background to it and its birth.
That’s the one that I went into the studio without any lyrics for! They wrote some of those parts with the melodic high vocals in mind and was the last song written on the album. That’s the thing… the last songs are always the best because by that time you’re in writing mode full boar. The first songs we wrote I could have done without honestly, but ended up finding their own little place on the record and people seem to dig them. Your Disposal is one of my personal faves and same with the rest of the guys. We almost did that as the video track or one of the tracks to be released first but we wanted to do the epic minifilm for the video and then didn’t want to blow our melodic wad with releasing both those songs so we opted for the other two Lifestalker and A Living, Breathing Piece of Defecating Meat as they showcased the album’s overall sound without delving too much into any one feeling be it more melodic or brutally heavy.
Is there a part of the album, track, riff, melody, idea et which gives you the deepest glow personally?
The chorus to Your Disposal and the middle part of Kingdom of Tyrants. I also really like The Monolith.
Could you tell us about the excellent album art work?
It shows the end result of the de-evolution of man. Man turning back into monkey due to his own lack of foresight and action against pollution, consumption and environmental unawareness. The monolith stands proud over a landscape of trash and by products of consumerism. The monolith also stands as a metaphor for technology, as seen in 2001: A Space Odyssey.
Now the album is out it is into live shows to take it into the world?
Yep! We’ve already been to Europe this year and just did the US and will be doing the US and Europe again starting in July and will be also hitting up some new territories that we’ve never been to before! Looking to get into South America, Australia, Japan, etc. More international touring this time than US touring. We’ve beat the US to death. Time to slow down on that and start doing quality over quantity.
You are only a couple of years off your two decades of being a band. You have seen and done so much in that time. How have things changed in that time for the band attitude wise towards and how you create your music?
It’s done a 180. I used to be so into things and making them work and now I just let it happen because it requires less footwork by ourselves now. The internet has changed things drastically. We used the internet to get signed to a big label and get our shit out there; I’m just so surprised at how things have changed with it. Things are constantly changing with the net and its a hard thing to stay on top of! We’re much more jaded now than we were. We see how everything works; we know how far we can take this. Gone are the days of “who knows what will happen” and thinking something grand is around the corner. If anything, I think that hopeful mindset is a good way to stifle creativity.
Good luck with the album not that you will need it, and thank you for sparing time to talk with us.
Would you like to end with any thoughts?
Hopefully see you all soon! We’ll be doing more international touring this time and hopefully it will take us to some places we’ve never been before. Its always cool showing up to a new country and a kid knows your whole story. Crazy.
And lastly will there be Cattle Decapitation Cabbage Patch Dolls as well as cards 😉
Nope! Mainly because we didn’t do Cabbage Patch Doll cards and there’s never been such a thing to my knowledge. Of course, I know that you’re confusing Garbage Pail Kids with Cabbage Patch kids but I still gotta give you shit…. 😉
Without having a full and firm knowledge of the career and previous output of Californian death grinders Cattle Decapitation, there is still a feeling that it is not too far from the mark to claim their new album Monolith of Inhumanity is up there as possibly the best thing they have unleashed upon. The album is immense, a towering brutality that takes all that the band is known for to a deeper and harsher level whilst stretching themselves and the genre with an incisive invention and inspired originality. With previous album the excellent The Harvest Floor as the main reference to compare the new album with, there is a further defined intention and realisation on the new album to bring not only the aggression and combative directness but also themselves and their music as a whole into new and imaginative avenues.
Cattle Decapitation have not veered sharply away from the intense and dehabilitating extreme sounds they have been known for and cultured since their beginning in 1995, in fact they have turned that aspect up to flesh searing and bone snapping heights. Into this though they have brought irresistible melodic insertions, groove fuelled hooks and lures, diverse vocals, and multiple infectious invitations unlike anything the band has created before. These are used subtly and sparingly but when used they bring something special to the visceral decimation going on all around. Monolith of Inhumanity is outstanding and makes being punished by its limitless violence a pleasure.
Released via Metal Blade Records on May 8thMonolith of Inhumanity sees the first appearance of bassist Derek Engemann in songwriting and recording. Joining vocalist Travis Ryan, guitarist Josh Elmore, and David McGraw on drums and alongside producer Dave Otero (Allegaeon, Cephalic Carnage), together they have spawn an album which lives and breathes to annihilate the senses as it brings through its concept of where humanity will end up if it continues its current course. From the moment the opening track The Carbon Stampede swarms around and bears its heavy vindictive weight upon the ear you know Cattle Decapitation have not lost their might and viciousness but have increased it with relish. The track rages like a furnace as the riffs splinter the sinews holding the ear in place whilst twisting the senses into a defenceless molten obedience. It is a devastating start still only suggests the greater things to come.
The darkly grinning bass of Engemann in the following Dead Set In Suicide alongside devastating rhythms from McGraw send bestial claws straight into the soul but it is the impressively varied and contrasting guttural gratings of Ryan with presumably his own high higher pitched demonic chorus which whips the song to be an immediate highlight. With riffs puncturing the body like offspring from a semi-automatic and melodic guitar play as sharp as cheese wire the track is enormous.
The album though just gets better and better, from the consuming vehemence of A Living, Breathing Piece of Defecating Meat with more brilliant diverse vocals and …well, just about everything, through the spiteful deeply intrusive Gristle Licker with a groove that opens up in the latter stages as demanding and additive as heard anywhere, to Lifestalker a track which almost breaks out initially into a wanton grooved swing attack until its bestial heart reasserts itself, the quality simply rises and rises.
The best is saved to last though with the trio of tracks Do Not Resuscitate, Your Disposal, and the closing Kingdom Of Tyrants. The first of the three turns the senses into a splatter board for the debris from its uncompromising intrusions of blistering riffs, acidic invention, and ravenous vocals. As shown everywhere the production allows each member to express their individual agenda and malice to bring a fuller and open but no less titanic assault from Cattle Decapitation. Your Disposal is the best song on the album, bringing all the best elements on the album into one rampaging maelstrom of intensity, violation, and ingenuity. It is like being in the middle of a charnel pit as your skin and bone are flayed by the sounds.
Kingdom of Tyrants is equally impressive and unpredictably imaginative, the perfect creative and destructive end to an outstanding album. With essences of the likes of Carcass, Dimmu Borgir, and Cannibal Corpse spicing up their own distinct death, grind, and what is at times melodic black metal, Cattle Decapitation have let loose one of the best extreme metal albums in a long time. Monolith of Inhumanity will leave you on your knees and devoid of feeling but most of all it will leave you fully satisfied.
RingMaster 03/05/2012
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It is a potent lure which, as its finale gets fiercely busy, slips into the waiting hellacious jaws of the EP’s title track. Involuntary Organ Donor similarly has a stalking rabidity to its entrance but soon viciously goes for the jugular led by the scything swings of drummer Joe Sweat and the raw, confrontational riffery of Rafay Nabeel and John Manger. The raw throat scarring vocals of Ryan Ritchie inspire even greater animosity within the encounter, the backing tones of Matt Moyer as enjoyably intrusive as his fingers spill more spite courtesy of his bass strings into the animus at the heart of the tempest. With grooves a juicy blooding of the imagination and adventurous twists and turns with the ravishing a spark to an even greedier appetite, resistance to its butchery is willingly put aside.
As with numerous similar genre offerings, there is a surface similarity which often cloaks the individual character of some songs but as incitements like Spinal Cord Impalement and Vomit Drenched In Mucus reveal, let the ravishments consume, and at times numb, whilst delving deeper into the slamming turbulences only leads to the discovery of generally unique identities. Both tracks offer such proposals, they as next up Choking On Feces and indeed the album’s title track, sharing many traits within their unbridled riff driven hostility but equally uncage plenty of twists vocally and musically to set each aside of another.
backed by the thunderous and turbulent assault of rhythms. Lorded over by the dark coated cavernously toned growls of Luiz, the track is a mix of predacious stalking and rabid intent. It is a rather compelling proposition gaining greater strength of persuasion across its length, imposing sonically and in success as its narrative courts the craft and blood-fests of cinematic gore/cult b-movie movie pioneers like Herschell Gordon Lewis, Ed Wood, and Roger Corman.
The band’s name and indeed that of its members, in vocalist Dr. Stink, guitarists Horace Bones and Ed The Dead, bassist Purgy, and drummer Dr Freudstein, alone provide colourful and mischievous bait, a lure instantly backed by their first track Motel Hell. There is thrash bred ferocity to the charge and hostility of the song, energy and creative adventure which is as psychotic as it is groove infectious. The vocals equally have a character and captivating rabidity to them which only ignites ears and enjoyment, bringing a chunk of the originality which revolves within an accomplished if familiar template of sound.
metal. Both Offal and Zombie Cookbook could be looking at infiltrating the broadest spotlights sometime soon too, especially if they continue uncaging beasts like those on their shared offering.
