Destroy the Opposition

I remember getting this album on vinyl as a Christmas gift. The strange but unique album cover drew me in and I was immediately hooked. I already had listened to “Destroy the Opposition” a handful of times previously. But it wasn’t until I jammed it on vinyl even more is when I was completely hooked. “Destroy the Opposition” is easily one of Dying Fetus’s biggest and most iconic albums. It takes everything that worked with the first two records they made and solidifies and expands them even more. They get more proactive lyrically, musically, and technically. Making this album one of the band’s strongest albums to date.

The band has reached their tightest lineup at this point in time. You have Sparky Voyles on the guitar and John Gallagher on the other guitar who also handles vocals. You also have Kevin Talley on drums as well as Jason Netherton on bass and vocals. These four gentlemen reach an extremely high level of brutality on this record. Combining the hardcore influences, the technical aspects of the band, and the straightforward brutality of their death metal sound. All of this makes up “Destroy the Opposition”. A 36-minute beatdown of some of the most powerful and influential death metal of the 2000s.

The production is fantastic for the band's sound. Each instrument is clearly heard and performed excellently. The guitars have a thick meaty tone, and the bass can be heard and sounds harsh like the guitars do. The drums sound like a machine gun firing at full speed and steam rolls over you. Vocally Jason’s and John’s vocals sound nasty and are mixed well together. Once again they have a nice touch of layering to them. You can hear every riff, beat, and rhythm that the band is playing. The raw yet powerful production allows the musicianship of each band member to be heard.

The songs on this album contain songs of Dying Fetus’s best song craft and writing. Each song is composed with a wide variety of gut-punching riffs and breakdowns. Having a nice mix of hardcore grooves and vocal patterns that blend well with the death metal aspects. Tempos range from these blistering blasting sections to mid-paced double bass chugging passages, and to the slower and heavy parts. Nothing gets overly repetitive and is technically proficient. Sparky and John have a great variety of riffs and shredding solos. There is also a lot of sweep picking like in the opening moments of “Pissing in the Mainstream”.

“Pissing in the Mainstream” is a great example of the continuous growth of Dying Fetus’s proactive lyrical approach. The lyrics continue to get more edgy, more political, and more violent. And so does the imagery. Take the album cover for this album for example which is a collage of many different people (that look like terrorists to me) holding guns with Uncle Sam in the middle extending his hand. This strange but unique and creative collage of photos makes this album immediately stand out in terms of imagery.

This album is packed to the brim with some of the bands tightest guitar work to date. You get a lot of head banging grooves and chugs like in the opening moments of “Praise the Lord (Opinum of the Masses)” which is a highlight song as it is. You still get the usual brutal death metal attack along with the hardcore infused riffs. But this album breaches into more teachnical territory. There is a lot more intricacy and sweeping riffs to be seen here. This album is a constant punch to the face that doesn’t let go of your neck. It will always make you bang your head to its chuggy breakdowns and beat downs.

Kevin Talley’s drumming is also extremely well written and well executed. His blast beats and double bass are frantic, blasting, and pummeling. Leaving no prisoners as he’s always beating you over the head and switching things up. His drum work also has a lot of hardcore fused beats and rythmns. That snare sound is very hard hitting and is fantasticly mixed.

When it comes to favorite songs it’s hard to pick because each song is very strong. But “Born in Sodom”, the title track, “Pissing in the Mainstream”, and the opening song “Praise the Lord (Opinum of the Masses)” are easy standouts.

One more thing I love about this album is the vocals. John continues to use some very deep gutturals that are unintelligible, while Jason continues to utilize the more raspy hardcore like growls. They have a good flow and great trade off/balance. Jason’s bass work is also really good and is as tight and as technical as the guitars are.

To sum things up this album is a testament to brutal death metal. It does everything the band does well and makes it more technical and brutal. Making this album one of the best Dying Fetus albums. If you want to get into this band start at “Destroy the Opposition”. And trust me. You won’t be disappointed. A fantastic album all the way through.

Destroy the Opposition set the standard for all Dying Fetus albums in the future and was their best album up to the release of Reign Supreme. This album has all of the standard idiosyncrasies of Dying Fetus fine tuned to be properly functioning. This album features better instrumental work then its predecessor's and especially better production.

First i'll look at some of the best songs on this album and there are really several standouts on this album with Epidemic of Hate, the title track and Born in Sodom being just some of those. All of these songs have great riffs and a several of these riffs are very unique especially the verse riff on Praise the Lord. This album holds all of the standard tremolo sections of Dying Fetus with the frenzied riffs that they have become known for. A very important aspect of these songs is that they never get boring as time goes on in the song due to the variety in all of the songs.

Looking only at the instrumental performance aspects of this album there are no real standouts but the guitar work is excellent as in all Dying Fetus albums in addition to that in my opinion the drums are rather weak but that is more of a personal preference rather then a one of substance. In conclusion this album features all of the positive elements of future Dying Fetus albums while still having the good classical elements of their first albums.

This delves right into the meat of it: scornful deathgrind with fat power chord grooves, high-energy tremolo picking over blasts, riddled with technical riffing often of the experimental variety. Many riffs will catch the listener off-guard, whether it's a slide-riff over the lower strings (like the inexplicable verse riff off Track 1 right after the intro) or parts utilizing open string picking or some of the odder rhythm patterns. The songs cover all possible tempos for this style alternating consistently between hyper speed and slow dirges throughout the tracks, like a collection of riffs thrown in together yet with a certain cohesiveness to it. Most songs do feel distinct but some of them will contain so many different sections it's sometimes difficult to keep track of what song is playing, in typical Dying Fetus fashion. There are choruses (the self-titled track as a good example) and recurring main riffs so the songs usually have a foundational basis to work on.

The atmosphere on the album shifts between darkly melodic and quasi euphoric (some outright major scale parts which can feel odd and out of place, but they work !) in particular on the tremolo riffs, while the rest is either epic in tone or so busy with the technicality it comes across as demonstrative and rather neutral thematically. Some parts musically sound like straight up hardcore with uptempo 1-2-1-2 kick/snare driven power chord stomps often introduced by one soloed guitar before the full instrumental comes in, and then the band will sometimes venture into a wild sweep picking part used as a riff. It's like a mixture between heads down technical death metal, hectic grindcore and the wider sounding hardcore parts, and the band switches up between those without transition. The tracks will deliver a shit-ton of heavy and frantic content, and then just come to an abrupt end before the next starts. It's undeniably intense, ravaging stuff and it never lets down and manages to always come up with fresh new ideas track in track out.

The vocals are the usual combo of barely intelligible low barks and louder abrasive shouting. Double vocals occur occasionally (see the emphatic one in the middle of 'For Us or Against Us'). The drums could only be described as hyperactive and in constant motion even during the steadier verse sections as the drummer will blast away but interrupt and squeeze in snare or tom fills, almost counter-intuitively in parts adding to the technical vibe of the record.

Every song is good in its own right and the album being framed into a compact 36-min format only makes it more efficient. The songs aren't particularly short but they somehow don't feel like they're unending collections of arbitrary riffs, as the band manages to make each track count with just enough variation in the guitar work to maintain relevance all the way til the end of the record. It's also dynamic structurally and skillfully paced where it could've been dull and felt too continuous. Other albums in tech-death can also be dynamic but still feel boring or just exhausting and not worth the listening effort quite fast as there's too much concentrated content. This isn't one of those: it's clinical, balanced and as well executed as it is written with an inspired drive. The band would go on to release a heap of abundantly heavy albums in a more modern setting but gradually lose of its essential classic death metal edge and narrow down to a more formatted sound. One of the better albums in the field.

https://antichristmagazine.com/review-dying-fetus-destroy-the-opposition-relapse-records/

Dying Fetus is one of those bands that you either love or hate. I don't seem to know anyone who can say that they are middle of the road. I am one of those that love the band, so I decided to review their best album. Destroy the Opposition does what the title says to do; it completely annihilates everything else around it. From the opening track to the last, every song is filled with ridiculously groovy, heavy, and brutal music that will of course destroy the opposition. Dying Fetus has been a target of criticism for allowing the current slam scene to grow and expand the horizons on Deathcore. Frankly I don't give a shit because they are fucking awesome. To some this is a gateway band and to others it is the wrong direction for metal to go.

I can see all viewpoints but it doesn't matter to me because I go absolutely insane whenever I hear anything from this album. The first track on Destroy the Opposition is by far their best one in their catalogue – it is what makes the band who they are. It opens with one of the catchiest riffs I have ever heard and continues to be really brutal. Everything from blast beats to breakdowns, to slower breakdowns, to even slower heavier breakdowns; it is the one song that when I see them live makes me go completely apeshit and destroy everyone in my path. Unfortunately the rest of the album isn't as good as this song, but it follows basically the same pattern. The slamming riffs are so catchy I honestly don't know how everybody doesn't find some pleasure in the songs. There is some sweeping on the album and it is crazy; Gallagher may do the same type of sweep in a lot of songs but I must say it is awesome. The production is top notch – thick sounding drums and chunky guitars add to the overall feel. The only major flaw I can find on the album is the main riff in Praise the Lord (Opium of the Masses) is also used in the song In Times of War, just slowed down – it is nearly the exact same.

If you can't tell already, this is one of my favorite albums, probably in my top 20. I just wish every time I hear the first track they were playing it in front of me so I could go on my slayage rampage and rip apart everyone in front of me like I usually do.

Originally written for http://www.metalcrypt.com

Either this or the next full-length is Dying Fetus' best work, and funny enough, it's not because the music is dramatically better than before.

This is about the first Dying Fetus release with genuinely good production for some reason. The biggest, best thing about this album is that it's the first Dying Fetus album with a guitar tone that doesn't sound like it was made by fucking Fisher-Price with that awful plasticky sound; now it's like they're actually playing death metal! The production as a whole is actually tolerable, without the horribly digital sound of the first few releases or the intensely over-bassy sound of 'Killing On Adrenaline'. It's really the first Dying Fetus album at this point in their career which isn't a chore to listen to on some level.

It's actually kind of amazing how much stuff falls into place with this band when the production is in order. I've complained before that Dying Fetus can't write tremolo/tech riffs to save their lives; this album doesn't change anything. However, the quality production and guitar tone means that they can now be enjoyed from the perspective of simple brutality and tension-building rather than not at all. The grooves are still the centerpiece of the album (as they are with literally every Dying Fetus release) but finally there are no parts on the album that make me desperately reach for the fast forward button. It's no more imaginative than normal but it WORKS, which is what Dying Fetus struggled with for the better part of their career. In another strange shift, John Gallagher's voice is actually not completely terrible on this album, which makes me wonder if it was the production all along that made him sound like a 12 year old boy who just heard Cannibal Corpse for the first time.

The Dying Fetus formula of course doesn't change at all. It's just sections of technical tremolo riffing over blast beats abruptly breaking down into NYDM grooves, and that's probably never going to change. The root formula is fine, so the quality of a random Dying Fetus release is really based around the tertiary elements (except for 'War Of Attrition', that inexcusably lazy piece of shit). Tertiary elements on this release are good, so the album as a whole is good. There's even a few fairly memorable tracks, like the opener and closer or 'Epidemic Of Hate', all of which boast strong riffs and memorable grooves. If you want to hear Dying Fetus' quintessential release, this is probably it, and a worthwhile purchase for any death/grind fan.

I’ve always loved Dying Fetus since the gore beginning and I love this great album. I think that with this one they’ve reached the top in intensity and technique. The main characteristic of this group is the natural skill in creating catchy sounds through blasting violence and terrific technique.

The production is now clearer and sharper than in the past and the songs are always more and more dynamic without the too gore touch of the beginning. “Praise The Lord”, “Epidemic Of Hate” are AWESOME with great hardcore influences, mid paced beginnings and following faster parts. The drummer's work is always various and groovy with lots of tempos changes, while the guitars are restless.

The vocals are in hardcore style in most of the parts but with an extreme distortion that goes from growls to screams. You cannot resist to “Justifiable Homicide” with a full load of crunchy riffs and catchy melodies. Fantastic. Hardcore, death, brutal, thrash….all in this great album. It is very rare to listen to the same tempos for more than few seconds and in one song you can find even 15 different structures. For example check out the great “Pissing On The Mainstream” with a tempo change at 1:15 that would make mosh an entire stadium during a live performance.

Great technical brutality…an album to remember in death metal. Support Dying Fetus and Destroy All Opposition!!

When I first wrote the review for Dying Fetus’ epic assault ‘Destroy The Opposition’, back in October 2006, my knowledge on the death metal scene was limited. In many ways, I was bias towards black metal and often overlooked death metal, it’s uglier sister. Many months on since I initially wrote the review for this record, I am back and with more appreciation for death metal, on the whole. My knowledge is expanding by the day and I’m more willing to listen to the genre, but tend to find experimental death metal acts more appealing than your standard bands which feature many of the main characteristics of the old school style. Dying Fetus have created a highly energetic and melodic piece of work in ‘Destroy The Opposition’.

Dying Fetus’ third record, ‘Destroy The Opposition’ marks the highlight of an illustrious career in the spotlight. To me, this record is the ultimate shining light. Whilst the debut consisted of gore and gore alone, this record brings together the best elements of the previous two records and adds it’s own stylistic edge to the proceedings. This remains to be one of the catchiest death metal records of all time or, at least, to my knowledge. As per usual, the main element of making this record a success is to use two experienced guitarists who weave their talents in and out of the songs, producing catchy riff after catchy riff of death metal mayhem on this gore obsessed record. The main problem I found with the debut was it’s dire production. The sound wasn’t clear enough to showcase the abilities of the musicians. It was mucky and murky. The bass was a bystander as the guitars attempted to take complete control of the soundscapes, albeit badly. The guitars, the bass and even the fast paced percussion sections were all disappointing. The debut did nothing but highlight the problems behind the scenes. The vocals aren’t the best, but the impact is there. The vocals come in two forms, the first being a merciless and menacing growl, whilst the second comes in the form of a gurgled sound, which may come across to some as mildly amusing, rather than a remedy for aggression and hate.

However, ‘Destroy The Opposition’ is a much more pleasing effort all round. The production is clean, crystal clear, if you will. It allows every aspect of the instrumentation to have it’s say on proceedings. The guitars, in particular, take it upon themselves to do this with force and malice. Whilst, as I say, the leads are catchy and driven by melodies, there is a harshness about the guitars. The distortion doesn’t allow ‘Destroy The Opposition’ to step down from it’s perch, high up in the gore stakes. One guitarist plays one riff and the other plays another. This intricate style of play is appealing and signifies the huge improvements made in terms of song writing and musicianship, which once let the band down. Songs like ‘Praise The Lord’ and ‘Epidemic Of Hate’ are strong willed. As one might expect, this gore obsessed record, with it’s intricate rhythmic riffs, is backed up by the insane lyrics, which have a huge impact upon the sound as they fit beside the soundscapes of unlimited aggression, anger and hate perfectly.

“I can't wait another day, ‘cause the tide's turning back on your bullshit
You are wasting my time and respect with your lies.
Destroyer of faith, cashed out, falling down.
Years of deception in chains of oppression.”

I consider this to be the strongest of the Dying Fetus records, although it doesn’t quite stand up to the best the genre has to offer. There are superior acts, but in terms of Dying Fetus records, this is a good one.

Amazingly fucking talented! A band whose reward revolves around development of skill and the act of being precise. Dying Fetus, formed in 1991 in Annapolis, MD, is quite remarkably in the top three technical death metal bands from the United States. The surprise was finding out that the new 'band' is just as good as the Infatuation WIth Malevolence days with the older boys. Sure the sound is shaped up and Relapse dug their claws into the material, but who's complaining?! Breakdowns pummel the song structures, riffs rip through any form of solidity, and Talley's drumming can easily be described in one word - fucked! And not in a negative way either.

"Praise the Lord (Opium of the Masses)" starts off with some of the fastest riffs on the album. Where the songs change is where tone changes. The drums change. The vocal patterns change. This appear on the album over a hundred times, meaning that this album contains over a hundred riffs. Possible? Yeah, it most certainly is. By the time "Epidemic of Hate" begins one of the most tantalizing intros in death metal's history, the listener should normally feel that a slower song is absolutely necessary (ie. such as on a Cannibal Corpse record), but DF make this one even faster, aside from the slow, and so unbelievably catchy, intro riff. From start to finish, Destroy the Opposition is a masterpiece of mindblowing talent and speed. And if you think Necrophagist is fast, check this shit out!

Now that my ears have come into contact with two of their other records, I would need to recommend Infatuation With Malevolence to anyone looking for extremely brutal deathgrind. The later records have a slight hardcore influence, much like other bands on Relapse (coincidence?). I gave this a very high rating which it absolutely deserves. This is up there with the champions and conquerors of this expanding genre.

Dragos,
www.canadianmetal.com

Dying Fetus are one of the front runners of the newer wave of American Death Metal, and Destroy The Opposition is their best release to date. Frenetic riffs, amazing lyrics, virtuouso drum work, all combine to create one of the best death metal releases of recent years. What has always set the Fetus apart from the rest of the Death Metal pack was their overly political lyrics and tongue in cheek cynism. Right from the opening the listener is aurally assaulted with Praise the Lord (Opium of the Masses) this five and a half minute monster starts with a heavy mid paced riff with some ultra low, in human growling, then at the 35 second mark a neck snapping riff blindsides the listener. Thus the pace is set for the record albulm. Track after track is filled with insane riffage and collosal drum work courtesy of Kevin Talley. Jason Netherton vocal attack comes like the rest of the music, fast and unrelenting. He fires off each political rant in a furious almost rap like manner. Guitarist John Gallagher adds to each song with his unintelligble death burp. Each song is more relentless than the first, leaving the listener gasping for air by the end.

The only complaint I have with this record is upon first listening to the cd Gallagher's vocals are so incomprehensible that it is difficult to follow along with the lyric sheet, other than that this is a modern day classic and is sure to be remembered in the years to come.