It wouldn’t be the genre I normally reach for – and I’m sure that applies to most.
But that’s not to say that deep underground goregrind can’t occasionally surprise.
Yes, it can be desperately hard to make out a tune in so many of these bands.
The scooped guitars, ping pong drums and piggy wiggy vocals can have only the most limited appeal.
At the same time there’s no denying the craft that’s gone into this.
Connor Brown, nowadays from Oncology and of course formerly Putrefy, must have been holed up for a good while in whatever charnel house he makes his music in with this foetid frolic.
For a start the drum programming (I’m guessing?) is pretty fantastic. Despite the at times grating snare drum, the variety in it all is remarkable.
There are lots of rolls with variable dynamics, which isn’t the stadard fayre in more amateurish programming.
The riffs are crunchy with all the standard gravity blasts into slam downs you’d expect in this style.
Are there songs in here anywhere? I’ll be honest and say it’s more of a beats situation, where the listening pleasure is mainly derived from the bounce and pace of it all.
But Connor’s not stupid about this kind of stuff, and so ‘Shards Of Bone’ does well to slow down to a doomy bellow near the end.
I’ve no idea how he’s produced the disgusting vocals in ‘The Ballad Of Carlos Estevez’, where the music levels out to allow a wallowing, sloppy, disgusting gurgle to run over the bassline like a wet poo.
It’s utterly disgusting sounding, even if the rest of the vocals on here are of the ‘bree bree bree’ school of goregrind.
So what’s it worth?
Well, decent drum programming (or playing if that’s what it is) and a lot of slams and pinch harmonics make for a good time.
It’s not as dense as some stuff in the genre, but it’s hardly for everyone either. Give it a spin though.
– Earl Grey ::: 17/05/16