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Deceased > Luck of the Corpse > Reviews
Deceased - Luck of the Corpse

The pilot episode - 64%

robotniq, May 6th, 2021

Deceased are a legendary band who have been around forever. They release albums to their own schedule, and they don’t care about what you and I think of them. The band found their calling on their third album in 1997 (“Fearless Undead Machines”), before peaking on their fourth in 2000 (“Supernatural Addiction”). Those albums blended death metal with traditional metal and macabre, literate horror stories. Still, every band has to start somewhere, and early Deceased only showed a faint glimmer of this potential. The band’s first album, “Luck of the Corpse”, was recorded in 1990 but wasn’t released until the following year. It sounds like a mash-up of Slayer, Necrophagia and Master. It is a world away from the flashier and more brutal American death metal records of the time.

This is a rough and primitive record; a string of disjointed, hackneyed old school death metal songs. The band’s ambitions were out of step with their talent. This makes for an uneven but interesting record. It sounds amateurish compared to later Deceased, or even compared to contemporary Autopsy material (a band with whom they share aesthetic similarities). Nonetheless, “Luck of the Corpse” is the beginning of drummer King Fowley's artistic vision. The cover artwork, lyrics and song titles indicate the band's interest in camp, 'B-movie' horror. This would become the band’s signature over the years. Many other death metal bands had dabbled in horror films and literature, but Fowley seemed to see this as some kind of personal quest.

As such, "Luck of the Corpse" is better conceptually than musically. Think of this album as a pilot episode before the series was commissioned. The band's musical potential is clear. There are some great solos, and Fowley's drumming is tasteful and powerful. The band was less convincing as a unit. The riffing here is sloppy and the timing is all over the place, nor have they worked out how to play traditional heavy metal leads. Most of the songs on this album are stodgy and there are few moments that stick in the brain. There is nothing here that will make the hairs stand up on the back of your neck. The record could be deemed a failure on that count, since it fails to capture the low-budget thrills of the B-movie horrors that influenced it. It is an interesting failure though, and even George Romero had to start somewhere (well, his first film was “Night of the Living Dead”, but you get my point).

There are hints of the band’s promising future, the clearest being "Psychedelic Warriors". This is the best, longest and most distinctive song on the album. It provides a glimpse into the horror narratives that would later characterise the band's approach. The creepy, non-distorted section (and guitar solo) towards the end is the most prescient moment on the album. This is the best example of Fowley embracing the song-writing style he would spend the next decade refining. Elsewhere, "Birth by Radiation" has a brooding, melodic intro that predicts the spoken-word interludes on “Fearless Undead Machines”. There are a couple of really good riffs scattered throughout the rest of the songs, like the slow, atmospheric bell chimes near the end of "Fading Survival". I also quite like the hardcore-inspired excesses in songs like "Decrepit Coma" and "Haunted Cerebellum".

This album is OK. It is a relic from the band’s grubby death metal past. It is worth hearing for the context on how Deceased became Deceased. The fruit of Fowley’s vision, and of the band’s ability to execute it, would take many more years to ripen. The band needed time to practice as musicians. Fowley needed time to stretch himself as a storyteller/composer in the King Diamond mold. I would ask one question of “Luck of the Corpse”: would this be considered a cult death metal classic if the band had never released anything else? I doubt it. It isn’t good enough to compete with records like "Season of the Dead" and "Severed Survival". Don’t judge a book by the opening chapter.

Primitive and eccentric - 90%

we hope you die, January 22nd, 2020

In pontificating on that foggy area between thrash and death metal, ‘missing the wood for the trees’ occasionally comes to mind. Who is death metal, and who is thrash? Sadus? Master? Thanatos? Possessed? Why does it matter? Well, as with so many debates that appear nonsensical to outsiders, it matters to us because as metalheads we’re fascinated by our own history. The how, why, and whats of a genre’s genesis. But in discussing these obscure spaces between genres, either prefixed with an ‘x/y’ or the ‘proto’ fudge of a tagline, it’s all to easy to dispense with an analysis of a work’s actual quality. Sure ‘Seven Churches’ is considered a classic, and sure this is in part based on the worth of the album itself. But was an ‘Altars of Madness’ the inevitable next step, or was there more to be found in this obscure and narrow mid-space between the past and the future? There may yet be more to be said. Or – to anticipate my conclusion – there is more to be said, because I’ll be arguing that this albums proves just that.

Deceased are members of a small but proud club in metal. They sit alongside some very well respected names; Darkthrone, Autopsy, Absu, Nocturnas (or Nocturnas A.D. now that they’ve passed their exams). Do they have anything in common beyond being led by drummers? Despite being a diverse little selection, I would say they all embody a sloppy authenticity that is imprinted on the music, making it unmistakably them. And this is no less true of Virginia’s Deceased, despite their sound evolving from primitive death/thrash to a more polished heavy metal vibe on later releases. Back in 1991 however, we have the satisfying ‘Luck of the Corpse’ LP to make sense of.

Although this strikes one first and foremost as one of those early renderings of a death metal yet to be, Deceased were a little late to the party by 1991. Production is fairly standard for the time, with the snare being given that 80s sheen that does not allow the sound to decay fully, and bass drums not properly sunk in the mix. This gives the illusion that the guitars are a little muddy, an illusion that is shattered the moment the lead work becomes audible or when the drums do calm down some. The same goes for the bass, which would be remarkably clear were it not for that double bass. This assessment is a little unfair however. ‘Luck of the Corpse’ is a work that more than surpasses these limited means and stands head and shoulders above many of its contemporaries. The unintentional eccentricities in the mix only add to this.

There are few branches of metal (and punk) left untouched by the end of this LP, and all are channelled through Deceased’s as yet unrefined but idiosyncratic and playful approach to metal. All musicians are given a chance to shine, as the music never rests on one idea for long. But far from coming across as sloppy and unfocused, the effect is the opposite. They try and focus disparate styles of metal through the same primitive thrash filter. This approach breathes an irresistible charm and life into what is often regarded as a rather limited genre.

No account of Deceased’s ability to find creativity on ground that many have all but abandoned is complete with mentioning Fowley’s unmistakable vocals. Much like the music itself, he travels through many styles throughout the course of this LP. But whether it’s shouting or bawling, he sounds genuinely distressed by the grim events he is narrating. Nay, he’s not merely narrating them as so many extreme vocalists do, he’s living them. This emotive style would become one of Deceased’s calling cards over the years, even as the music took on a more streamlined heavy metal sheen. But its marriage with this primitive yet ambitious thrash metal was never bettered in my book.

‘Luck of Corpse’ has a passion and daring that was apparent even at this early stage of Deceased’s career. Although apparently sitting fairly comfortably in with many similar releases of the time, as its many eccentricities unfold, it is clear that this is a unique little gem of the past.

Originally published at Hate Meditations

Improvement? I don't think so! - 77%

Feast for the Damned, November 13th, 2019

There are two different approaches when it comes to this record. There are the simple "old-school death metal or die" type of guys who think this is the only good record that the band has ever put out (frankly enough, they also seem to think this is mediocre) and then there is the crowd that enjoys the crap out of all the Deceased albums, but they seem to agree that this is by far the least imaginative full-length in the bands lengthy discography. While I'm part of the latter group, I still enjoy this release a lot...

...but come on, it's pretty much Nuclear Exorcist and Birth by Radiation re-recorded with 4 original tracks added in. I was planning on reviewing Nuclear Exorcist too, but ultimately I decided against it. Mainly because it sounds an awful lot like Birth By Radiation, but the fact that this record also has most of the songs re-recorded sealed the deal for me.

1991 being the first year of the golden age (or should I say three years) of death metal, there was quite a big competition for a record that is labeled as such. Sadly, judging by the sound, they were going for exactly that. First time in their career, an attempt at creating a full-blown, pure death metal album. It would have been a great idea honestly, but too bad nobody told them they shouldn't re-record songs that were meant to be death/thrash. The only songs that sound like pure death metal are the original ones. These 4 tracks are very different from the re-recorded demo material. They are generally mid-tempo (e.g. Fading Survival) with vocals being less varied, generally sticking to the low, growling, Massacre-like vocals. While they aren't exactly masterpieces, Feasting on Skulls and Experimenting with Failure both have some really good guitar work. Riffs and solos are equally entertaining to listen to, but they also pack a couple of unique elements to each of them. Psychedelic Warriors for example has a wonderful flow to it. It starts with your meat and potatoes death metal, but as it progresses it gets weirder and weirder with some sudden high note licks and a couple of solos (even one for the bass).

The re-recorded tracks have two major issues. It is noticeable that they were written in a different style so much so that it throws you off. It can't fit both of the ideas under the same album without making one of them sound out of place. The funny thing is that they wanted to make it so that the minority of the songs are the ones they want you to consider the norm for the album (that's what happens when "death-metalize" thrashy songs). The other issue I had is that they sound worse than the demo versions. Don't get me wrong, there is still a lot to like about them, but I think these tracks worked better with the rough production. Take Decrepit Coma for example, sounds rather silly when they just keep repeating "Never to awake again" over and over again while it sounded like the sonic manifestation of insanity on Birth By Radiation thanks to the rawness of the production.

Overall there is nothing that would make this record stand out from the massive amount of albums that came out in the '91-'93 period. If this were to come out 3 or 4 years earlier it would have been an absolute classic, but unfortunately, it ended up being a forgettable record from an otherwise fantastic band (although when it came out the greatness to come was barely foreshadowed).

The highlights of the album are Fading Survival, Feasting on Skulls and Psychedelic Warriors.

You have good reason to be afraid - 75%

autothrall, October 17th, 2013

Luck of the Corpse is a textbook example of a grave-blossom not yet in gruesome bloom, a record that functioned only as a crude forebear for its superior successors. Yet there are particular charms to it that I always felt were difficult to deny, despite the dearth of strong riffing progressions and melodies that characterized their true 'breakthrough' period that is unquestionably Fearless Undead Machines and its followup/refinement Supernatural Addiction. To be frank, there's not really a Deceased record I dislike. They've inevitably transformed into one of the most unique and consistent voices in American metal, period, and certainly one of the greatest bands on Earth that I'd dub 'horror metal', since their generally excellent music is accompanied by a lyrical wealth drawn from cult, camp or classic horror that King Fowley and crew seem to have a genuine fascination for. They were doing this long before most other death metal outfits, since the mid-80s, vomited forth from that same filthy mindset that produced Possessed, Blood Feast, Indestroy and their ilk, only Deceased were headed in a more distinctly 'death' direction which the adoption of King's full-bore growls, a technique fans of the band's later material might not be too familiar or comfortable with...

Because, let's face it, while Fowley is an adequate grunter and you can already perceive his natural tone in each line, the vocals of Luck of the Corpse were not nearly so charismatic and unique as they'd become on the later material, where he'd dial back on the guttural delivery and commit to his raw, haunting style which, without being overly melodic, seems a better fit to the band's amalgamation of slasher, paranormal and creature-feature themes. The debut is partly held back by this, because it's naturally just not so dramatic or interesting, but then, that's all-around what separates this from the Virginians' stable of great works. I would also point out the riffing for fault, which was often direly predictable even by 1991 standards. A mishmash of pretty average speed and thrash metal structures imbued with an occasional burst of more open punk or grind intensity. With the exception of a few tremolo riff patterns and the vocals, few would probably even consider this a proper 'death metal' album. The lion's share of rhythm guitars really serve to make the album's melodic exceptions stand out, where on later records both areas were equally strong and nary a track will pass without some delicious riff that you've got to constantly replay in your mind or on your stereo. Here, it seems two uninteresting riffs spit past you for every one that sticks, and so personally Luck of the Corpse becomes more an album to revisit more for its lyrics, atmosphere and nostalgia than for digging up the band's most memorable fare.

That said, I absolutely FUCKING LOVE the production on this disc. In fact, I find it superior to either the 13 Frightened Souls EP (which had better songs) or the grainier Blueprints for Madness sophomore (which also had better songs). A great, gritty guitar tone which is worthy of some of the edgier underground thrash of the decade, but still somehow bright enough to shine on the higher pitch riffing, like those creepy little melodies that poke through the savagery of "Psychedelic Warriors", or the more harried and intense flurries of notes that comprise the Megadeth-like athleticism of "Decrepit Coma". King's drumming seems a little ramshackle amidst all the constant tempo changes here, because Luck of the Corpse is nothing if not a dynamic volley of thrash/speed/punk, but the actual mix of the drums has just the right amount of volume and reverb that makes me feel like I'm out at some live gig. Only complaints there would be that some of the snare cracks seem a little loud, and some of the fills feel stilted and half-formed. I also really love the cruddy sewer-dweller presence of the bass guitar, a C.H.U.D. in audio flesh, making it pretty clear that this was also going to be an INSTRUMENT in Deceased and not just lost in translation like on so many early thrash or death metal records. He does often ape the guitar line a little closely, but is given some breaks of his own and tosses in some sporadic and sturdy tremolo picking sequences of his own and fills, which make a tune like "Experimenting with Failure" so wild (a favorite here).

As a whole, even with a lot of the riffs not being individually anything to write home about, I'm surprised just how much Luck of the Corpse seems to stand up to time. It's certainly not modern or polished sounding, but I'd be very happy to get a new record today from an underground band that had this sense of passionate nostalgia about it. It's perhaps the skimpiest selection of great Deceased songs on any of their full-length offerings, but at a conceptual level the group was already intelligent, lyrically interesting. The difference in riffing style between this and, say Obituary...or Suffocation...or Cannibal Corpse really sealed the deal in distinguishing the Virginians' trajectory, but I was immediately smitten most by the manic, excitable lyrics that often feel more like a mad scientist monologue from some old black & white horror flick at the drive in. In his mind, King was already wearing the lab coat, already dissecting the animated cadaver to see what made it 'tick', and it lends a credible charm to the debut even if his vocal style had yet to really leave an impression. Some would probably argue that Luck of the Corpse is the band's one TRUE death metal disc, but I prefer to think of Deceased as always simply doing its own thing, adding its own voice to the choir and never so intent on limiting or labeling itself. This may not be so multidimensional as its progeny, and a lot of riffs pretty familiar, but it was undoubtedly one of the most 'stylish' releases on the early Relapse roster, and is still worth an occasional spin if you can avert yourself from the better albums to follow.

-autothrall
http://www.fromthedustreturned.com

not worth anyone's time a year after release - 33%

Noktorn, December 7th, 2011

When judging death metal albums from the genre's formative years, it's easy to get caught up in what the heaviest, fastest, most brutal, most forward-thinking, etc. of the brood may have been. It's sort of silly since it's not as though everything in early death metal was some sort of preparation for Enmity (well, at least I wouldn't say that in public); things are more three-dimensional than that. It's a bit heartening to see that some of the bands from that era seem to have gotten caught up in a similar rush to nowhere: look at Deceased. They started as a thrash band, released a tryhard death metal (kinda) debut in "Luck of the Corpse," then spent the rest of their career distancing themselves from the style, it seems. I mean, you listen to this album and you can tell that their hearts simply aren't in it. I don't need to catalog the list of albums released at the same time that were far heavier, faster, and whatever other superlative you're interested in; you already know and own them all. It comes off as kind of silly, juvenile, and overcompensating to prove heaviness beyond thrash. That doesn't necessarily make it a bad album in and of itself, but it's pretty clear that Deceased were never cut out for this "death metal" thing.

Now, while I may have said that bit of overcompensation doesn't make a bad album in and of itself, the waffling, hesitant delivery and obvious lack of interest in the style certainly does. "Luck of the Corpse" is a death metal album by musicians who don't really like death metal, and even calling it death metal feels like something of a stretch for someone like me who cut his teeth on Devourment and Origin. The thrash and even traditional heavy metal influences perpetually threaten to overtake the occasional blast beats and "Eaten Back to Life"-style tremolo riffing. Apart from periodic dips into mildly extreme (only mildly even for the time period) territory, this is a pretty straightforward thrash album. Possessed played with more malignancy and fervor than these guys; "Luck of the Corpse" sounds pretty dated even for 1992, and most of their brethren in the death metal scene had already overtaken this territory a couple years back in intensity.

I'm trying not get all wrapped up in how this happens to not be particularly severe music, but it tends to color the performances of the members and the construction of the songs. Mostly based off thrash riffs, the tracks on this album tend to reiterate early, early Death in their death metal stylings, and for thrash seem to look to Anthrax, of all things, for many of their reference points. The speedy, furtive riffing of Slayer circa "Hell Awaits" pops up in points, but for the most part, the music imitates Anthrax's rather bouncy, jovial style, which doesn't go very far to carry out the sort of morbid, haunted house image the band attempts to project. Nor do the occasional shouted gang vocals, nor the rather sloppy, inconsistently loud drumming, nor the perpetual, desperate jump from blast and tremolo to more consistent, midpaced territory. Anytime the band gets to a particularly heavy section, they seem to do all they can to jump ship for safer territory as quickly as possible. They're much more capable when in consistent thrash territory. A good example is "Decrepit Coma," where the overdone drumming and perpetual rhythmic shifts clearly indicate a band that wants to be counted among the death metal herd but it basically incapable of sacking up long enough to make a respectable contribution.

The music bobs and weaves so much it never settles into a groove or atmosphere, and the dry, degraded production doesn't give it any sort of opportunity to connect with the listener; if the songs weren't awkwardly structured enough to put you off, every other element will. While the vocal presence is fairly abrasive, it doesn't match up with the rest of the music, which tends to reiterate established thrash and heavy metal tropes without much personality of its own, apart from the overlong, obnoxiously caterwauling solos which seem preemptively designed to piss me off. Perhaps this simply isn't music for me, but I'm more inclined to see it as an intrinsically mediocre and half-assed case of reach (or desire to reach) massively exceeding grasp.

Deceased is also the oldschool band that most resembles Ghoul, so I dislike it on principle.

The cemetary's full... of riffs. - 90%

orphy, January 23rd, 2011

When it comes to the roots of death metal, Deceased is a band that cannot be overlooked. After releasing a string of demos in the 80's, their debut album "Luck of the Corpse" took their initial thrash/death mixture, and pushed it to new levels of speed and brutality. This album certainly stands out in their discography, predating the days when they got into playing heavy metal-esque melodies.

This album is fast. We're talking grindcore fast here, at times the band gets into speed zones that would be familiar on a Repulsion record. Riff wise, you can definitely hear a huge Slayer influence, which also bleeds into the lead playing style a little bit. Voivod also comes to mind right away, as they throw in some odd chords and jerky rhythms to get things moving. Check out tracks like "Decrepit Coma" and "Shrieks from the Hearse", you'll think that Piggy himself gave the band some riffs to use.

King Fowley, the band's frontman, gives one hell of a drum performance on here. I have read that he doesn't like this album because it was played "too fast", but as a fan, I can safely say that this album has a unique charm due to the fact it's just a bunch of young death metal freaks playing at the edge of their ability, it's just ridiculous! King's blast beats are quick, and he utilizes punk beats a lot too, which compliment the thrashy riffs perfectly. His vocal performance is unique to this album, he never really did his low style vocals after this.

So many of these tracks are classics, and you'll get riffs stuck in your head pretty easy. Not to mention, the lyrics are pretty catchy at times too, you'll find yourself singing along to songs like "Haunted Cerebellum" with it's gang vocals at the end. "Birth by Radiation" features an interesting intro with clean guitar to build up before the impending madness. Little things in every song will jump out at you, making it an addicting listen.

The production on this record is acceptable. It's not as heavy as say, Incantation, but seeing as these guys rely more on thrashy riffs and speed, it works just fine. It definitely sounds like an early 90's death metal album, but don't expect a Scott Burns kind of mix.

Anyone who is into death metal needs to hear this record. Full of great riffs, speed, and a really intense performance, you can't help but want to hear it again and again. You can get this album along with the "13 Frightened Souls" EP on one disc, which I highly recommend.

Truly a classic death metal album - 100%

UncleMeat, June 9th, 2009

Deceased’s legendary 1991 classic, ‘Luck of the Corpse’, is hands down one of the most putrid slabs of death metal ever created. The entire album just reeks of old-school, 80’s death metal filth, probably due to the fact that the majority of these songs were in fact written during the band’s ’86-’89 demo period, and the ones that weren’t sound like they could have been. This may make some of the less-knowledgeable question as to whether or not this is really death metal, as the thrash influence is very apparent, but to those with an understanding of the roots and foundations of said genre, from the early 80’s and up, this is as death metal as the 80’s could get. And you know what? It’s a damn fine example at that, too.

The production is a perfect combination of rawness and clarity, and the two intertwine together and create one of the most fitting production jobs I have ever heard. Giving an album such as ‘Luck of the Corpse’ a pristine and polished production job would be like giving a Cordoba Fighting Dog (assuming they weren’t extinct) a “continental clipping” (a popular hairdo for poodles, where the face, throat, feet, and base of the tail are shaved, giving everything else a very defined “poof”). This means that not only would it be out of place, but it would also hinder the overall brutality factor, ultimately doing nothing but hurt the recording rather than help. However, that is not to say the album isn’t excellently mixed, as it really is. Every instrument has a prominent, defined place in the mix, allowing nothing to be overpowering or too hidden beneath the filth.

Being a drummer myself, I have always had a respect for people who do the drummer/vocalist thing and are just as good of a drummer as they a vocalist, and in this case, King Fowley fits that bill quite well (Chris Reifert is another perfect example). Not only does he sound like an utterly deranged demon who has watched one too many b-horror films, but he also does this with a range spanning from gruff barks, to bellowing growls, to deathly rasps, all of which are executed and meshed together perfectly, creating a truly maniacal and disorienting atmosphere that few others could. He is also a pretty damn good drummer who knows a thing or two about rhythmic dynamics, as well as adding variety to what could potentially be a rather restricting field of drumming. He makes great use of his toms, but not in a flashy sense. Instead he uses them to fill empty spaces with just all out heaviness, leaving no breathing room for anything else, and I mean that in the best way possible. The set itself is also pretty nice sounding, and it was miked well, with a full, rich-sounding ride cymbal, crashes that sound like he threw a silverware drawer down a flight of metal stairs, a deep, textural snare, booming toms and a deadened, thudding bass drum that actually sounds like a real bass drum. Yes, that’s right, no irritating rapid clicking sounds will be found here, just devastating, booming, bass-heavy madness.

The guitar work on here is phenomenal. Not in a technicality sense, but in just a really god damn well written way, each riff containing so much power and heaviness that added technical extras would just diminish its power. That is not to say these riffs are overly simplistic though, as they thrash just as hard as anything Morbid Saint or Protector ever did while retaining that strong chromatic death metal sensibility that other mid-late 80’s death metal bands had, such as Necrovore and Insanity (US). This of course opens a wide range up to lots of possibilities while still keeping order and not sounding allover the place, despite the number of ideas being thrown around. The solos are also great, and alternate between bizarrely melodic tremolo picking and flat-out whammy-bashing atonal bursts of feedback that everyone was so good at back then. Not only is the riffing excellent, but the guitar tones and the bass tone are just perfect. The guitars have a grimy yet fuzzy sound, and obviously have been soaked heavily in something stagnant and rancid for several years without ever changing strings. The bass doesn’t have so much of a low-end sound but rather an ugly, rumbling tone that sort of just clunks along at a rapid, but precise, pace.

So when you take all those things, throw in an album cover of a screen shot from the classic 1963 ‘Black Sabbath’ film, and you have yourself a mighty fine death metal classic. However, this is not death metal as you may imagine for 1991, as I said, most of this material was written between 1985 and 1989. This is pure mid-late 80’s-era death metal in the vein of Possessed, Necrovore, Insanity (US), demo-era Morbid Angel, etc, so expect nothing but thrashing old-school fury of the highest order. You have been warned.

Extreme death metal found on this! - 90%

MorbidAtheist666, June 1st, 2004

Deceased is a really brutal and extreme death metal band. Their debut album is really awesome. At first I didn't really like it, I only liked Futuristic Doom. Then I listened to it more and I found the other tracks to be great as well. This album has a lot to offer, from Mark Adams and Mike Smith's great guitar work to King Fowley's awesome drumming.

Mark Adams and Mike Smith do some really awesome riffs and solos. The intro on Experimenting With Failure sounds really excellent. I'm extremely impressed by the solo of Futuristic Doom. It sounds really perfect to me.

King Fowley's vocals are really awesome on this album. His vocals sound great on every track, especially Futuristic Doom and Shreiks From The Hearse. He knows how to really growl. He's also a great drummer on this album. He really knows how to beat the drums really hard while growling. Not too many people can say they can play drums and do aggressive vocals at the same time.

If you're into death metal with raw productions and fierce vocals, this is the album to get. Not only would I say this is a death metal album, it's got some thrash in it. If you're really into death/thrash metal, go out and get it right away!

Luck of the CD shop - 90%

Mourningrise, August 28th, 2003

I was lucky to have found this at my local record store. They usually never carry anything like this. When I saw this, the image on the front cover struck me as being "funny looking," so I picked this up. Man, was I blown away. This is good, underground Death metal, the old school Death metal that would make Obituary and Morbid Angel proud. Raw, aggressive, in your face brutal Death metal that only genuine metal fans could create(and they are metal fans themselves and proud of it!)

The music is intense, brutal, aggressive, and raw. The raw production only adds to the brutality. The vocals are gruff, but understandable in some places. The guitars sound like a buzzsaw about to rip your face in two, and the drums are fast and brutal.

Overall if you like Death metal the old school way, then you gotta own this release. If you like Death metal the brutal, new way, then pick this up too to see where your favorite bands got their influences from.