It's not going to be pretty.
Day 55
Artist Origin: New Jersey, USA
Genre: Death Metal / Deathcore
Label: Black Market Activities
Running Time: 32 minutes
Release Date: June 21, 2011
Best Part: The Jackal - returning from their EP, crisper, cleaner and more brutal.
Favorite Tracks: The Executioner, The False Prophet, The Jackal, and The Conqueror
Grade: 3.5
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The Process of Human Extermination in 20 words or less:
Nothing groundbreaking or revolutionary, but the debut from this New Jersey death metal crew is definitely ground shaking and well constructed.
The Band:
Fit For An Autopsy is a five member death metal outfit playing out New Jersey that leans slightly more towards the deathcore end of the spectrum, playing a near relentless and brutal audio assault on your ear drums. The band is also the latest group to be helmed by vocalist Nate Johnson, who was great during his time with Through the Eyes of the Dead. The band is signed to Black Market Activities, which is a record label that is actually owned by Guy Kozowyk of The Red Chord, who is also featured on the Fit For An Autopsy's debut record.
Skeletonwitch's other releases include: At One with the Shadows (2004), Beyond the Permafrost (2007), and Breathing the Fire (2009)
Jay's Take on The Process of Human Extermination:
Clocking in at 30 minutes, with tracks averaging just shy of or slightly over three minutes, The Process of Human Extermination keeps it simple and concise; that is to say if up front brutal death metal can be put that simply. Fit For An Autopsy doesn't try to overextend themselves with any of their tracks, it's just straight to the meat and potatoes: fast shredding, pounding riffs, brutal vocals and when the need arises, some crushing toned down grooves. The record isn't groundbreaking, although I hardly expect that to have been the intent. While there may not be any overly distinctive material, The Process of Human Extermination is still worthy of some airtime beyond the initial listen for anyone that includes their chosen style as their cup o' tea. Their debut record was recorded in collaboration with a number of artists who will be quite familiar to anyone who clues onto their inclusion, including Guy Kozowyk, as mentioned earlier, and Travis Richter, former vocalist for The Human Abstract.
Sample of the Day:
Day 56
Artist Origin: Huntington Beach, California, USA
Genre: Brutal Deathcore
Label: Unsigned
Running Time: 30 minutes
Release Date: March 28, 2011
Best Part: You know - that part with the Pig Squeal.
Favorite Tracks: Breaching the Clone, Void Leacher, and The Age of the Seraphim
Grade: 3.0
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Disfiguring the Goddess in 20 words or less:
This is probably the most gut wrenchingly abrasive thing that will ever be featured on 365 Days of Metal.
The Band:
Disfiguring the Goddess is a DIY brutal deathcore band from the West coast of the United States. Known for the ridiculously brutal guttural vocals of Cameron 'Big Chocolate' Argon, the debut self-released, self-titled album came out to rather good reviews among the deathcore community, as it incorporated a number of small elements that made them still relatively distinct among a genre that is difficult for many to even embrace.
Disfiguring the Goddess' other release is their follow-up record Circle of Nine, which was released in March 2011.
Jay's Take on Disfiguring the Goddess:
Argon's vocals are some of the most brutal I've encountered, and can be described basically as bile drenched and gut wrenching in their brutality. Being a homebrew project, the sound quality and engineering is far from highly crisp, but for the genre this par plays is not at all necessary. In comparison with the self-titled debut release however, the sound quality is much improved. The grungy and dingy feel of the tracks just makes them feel more brutal, more dirty - which they absolutely are. I can't claim that Argon has the best pig squeals I've ever heard, but they are absolutely filthy and almost vomit-inducing - which is really what you want out of a pig squeal. Argon provides the vocals, programming (including the synth flourishes) and guitar work, while Phil Cancilla provides drumming for the album. I don't really know what else to say about this, so I'll leave it at that.
I'm not sure I'd ever listen to this album again - and I'm not sure anyone who reads this will even listen to it at all.
Sample of the Day:
- J
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