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Splattered Platters

Slammey Stanley’s Splattered Platters – February 2019

With February having passed, hopefully you had the opportunity to ask that out that special someone you’ve been staring at in the office for the past two years. If that relationship has been progressing well, you’re probably getting to that point where you’ve gotta set the tone for some protected procreation, and don’t you worry, ‘cause February’s aborted some real sensual tunes to help you get in just the right mood to slam her guts out or rape your fucking dog.  Whatever the case, you can’t be unprepared when the time comes. Here are some post-valentines tunes for all you brutal motherfuckers. Enjoy!

Main Course:

Band: Tribe Of Pazuzu

Album: Heretical Uprising (EP)

Released: February 8th, 2019

Genre: Death Metal

Location: North America

Label: Independent

You’d think that a supergroup consisting of Nick Sagias (Soulstorm, ex-Overthrow, ex-Pestilence) Flo Mounier (Cryptopsy), John McEntee (Incantation, ex-Mortician), and Randy Harris (ex-Macification) would lead to the most celebrated release of the month within the Death Metal community, yet this EP released to virtually no praise, or even attention, whatsoever.  Let me tell you something: you don’t wanna pass this up. If you have any affinity for Death Metal as a genre, this EP will be an absolute blast to listen to. The EP’s opening track/title track “Heretical Uprising” channels an overwhelming Blackened-Death influence, even including the cult-like chants of Thelma 6 era Behemoth fame.  The rest of the EP never really re-visits those influences to such an extent, rather, it shifts into an unpredictable orgy of Death Metal influences throughout the genre’s lifespan.  It manages to channel the riffing styles of Nile, Morbid Angel, and Immolation to name a few, this being thanks for the talented John McEntee. Flo’s drumming is as top notch as one would expect, and Randy’s Floyd wankery is at it’s finest, channeling his inner Hanneman for some extra Death Metal flavor.  And lest we forget Nick’s bass/vocals. Sagias manages to commit to two of the most difficult roles to fill in Death Metal with ease. The bass has the perfect hammer like tone to co-inside with the guitars, and his gutturals are just as great as they’ve ever been. The EP’s production is, perhaps, a bit more polished than a classic Death Metal fan would enjoy, however, it rarely gets in the way of the aggression; as such, I see no problem with it.  Heretical Uprising is essentially Blackened-Death seasoned Death Metal time capsule from some of the genre’s most divine musical talents at the helm.  Is it a full-length? No. Is it new, brutal shit? Yes. This was the most fun I’ve had listening to music this month. Plus, it’s only five bucks for a digital copy on Bandcamp.    

Final Grade: B


Band: Encoffinized

Album: Chambers of Deprivation

Released: February 15th, 2019

Genre: Death Metal

Location: North America (Orange County, California)

Label: Maggot Stomp  

Within the extreme music scene, one sole quality has been lacking from Brutal Death Metal: the brutality.  You can only get so far with Superior Drummer 3 and extremely technical and robotic riffs without devoiding the music of the human element.  On the flipside, however, drowning your music in a super-fucked sewage production to make up for one’s lack of actual substance doesn’t do anyone any favors either.  That’s where Encoffinized comes in. Chambers of Deprivation is essentially a perfect marriage of classic OSDM and modern Brutal Death Metal elements.  While Chambers of Deprivation does, in many ways, have the most fucked production known to man, it’s the quality of the fucked-to-clear ratio that truely deciphers and unveils the elements of the music.  The snare (yeah, I know man, sorry for talking about the snare) is right on the verge of the classic tin snare sound of the standard Slam vocabulary, yet it refrains just below that to remain based within the OSDM world.  Not to mention that the drums on the record are simply fucking amazing (being courtesy of Max “Rutan” Baxter). The guitar riffs are still very rooted in OSDM in my ears, yet they still approach the high-intensity riffs and squeals to be found in Brutal Death Metal throughout the record’s runtime.  Additionally, the gutturals are some of the most refined, yet still animalistic gutturals I have heard on a record in a long while. Keep in mind that both the guitars and gutturals rampant throughout the record are both courtesies of Chris “Father Mullet” Johnson. Maggot Stomp has most certainly been evolving and molding itself into a force to be reckoned with, but it’s easily Chambers of Deprivation that has solidified them as one such underground force.  Chambers of Deprivation’s only actual flaw is its runtime.  Twenty-two minutes? Twenty-two fucking minutes?  I’d think of that as more of an EP than a record but hey, that’s just another element of their brutality.  Although I’d appreciate it if they didn’t cocktease us with the next release.

Final Grade: A-


Side Dishes:

Band: Toolbox Terror

Album: Unidentified Flesh Object

Released: February 2nd, 2019

Genre: Death Metal

Location: Italy (Genoa, Ligury)


In terms of Brutal Death Metal, Indonesia still takes the cake for having the most relevance in terms of the genre’s geography.  That place has an abundance of Slam-based merch stores, shows, and bands spawning faster than an EP from Trevor William Church. There’s not much that anybody can do to beat that as of now, but every place has their scene.  Italy, however, has kinda been on the wayside. It has its scene and some great records, but its never truly been much of a force to be reckoned with. Although, with this release, it seems that Italy may be working its way up the ladder of brutality.  It’s been a long six years since their debut record Bind, Torture, Kill, and without a doubt, Unidentified Flesh Object was worth the wait.  They certainly didn’t put their time to waste in terms of development, and, as such, this is a great record.  Toolbox certainly like Aborted, although, there are quite a variety of influences on display, which really takes the music into territory one wouldn’t expect, certainly where I didn’t expect.  I don’t believe that qualifies as “Avante Garde” as stated in their Bandcamp description, but goddamn is it good nonetheless.

Final Grade: B+


Band: Zebú

Album: Mesías de Sangre

Released: February 8th, 2019

Genre: Grindcore

Location: México (Jalisco)

Label: Independent

There’s a question I always come back to in terms of our love of extreme music.  While we love new bands who strive for innovation, why do we continue to support bands keen on recycling the formula of a genre’s golden-era? The great Thrash Ressurection movement of recent years has certainly raised the question, but then there’s the need of an answer.  You get that answer when you listen to something like Zebú’s Mesías de Sangre; it’s because, when done right, it’s fucking fantastic.  Zebú is a throwback to the early days of Death Metal and Grindcore, when the genres were first in conception, not sure of which direction to pursue or undertake.  As such, the record is essentially a combination of both. It’s best summarized with El anarko Crust’s youtube comment on the Slam Worldwide video, “It sounds like Dying Fetus and Napalm Death [had] a child. Good stuff!”.  That’s professional journalism right there, folks. Quoting a Youtube comment. Regardless, that’s what this record is. It’s early Grindcore and early Brutal Death Metal strung together with somewhat-surprisingly extreme political topics being explored in its lyricism.  Again: fucking fantastic.

Final Grade: B+



Album: Coprophilic (EP)

Released: February 15th, 2019

Genre: Slamming Brutal Death Metal

Location: North America (Minneapolis, Minnesota)

Label: Independent

I gotta be honest; there’s not much to be said here.  If you’re looking for some classic, one-man slam along the lines of Kraanium, Cephalotripsy, and literally every other modern Slam band, this is it.  There are some additions that are pretty great on this EP, however. The drums aren’t too in your face or technical, and they have a natural tonality to them.  Additionally, the production isn’t overly clean, rather, it’s pretty dirty, which is a nice change of pace.  Other than that, however, it’s classic, pummeling, and Slammey.  

Final Grade: C     

Remember to support these releases!  Keep the Metal scene alive, my friends!  





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