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This album is the equivalent of THAT guy. You know what I mean right? That guy who goes to the 10 item checkout with a basket of assorted beef jerky and light beers. Not only is he lugging too much for that line, but it makes him a repetitive git. This album has been hailed as the return of the death metal master race. The hail mary of extreme metal, the great rip in the fabric of heavy metal reality. But in all honesty, it's one of the most boring and monotonous experiences I've had this way of stand-still bicycle physics.
The slam was truly a beautiful thing in it's heyday. And it was such a simple concept. A collection of groovy and muted power chords set to a hard hitting double bass pattern. Suffocation's first album gave this an epitomized gleam. And bands like Devourment and Internal Bleeding would make this concept drive further into more experimental territory. Playing with this relatively simple idea and yet crafting truly original and brutal songs. So how did we go from the catchy grooves of songs like "Liege Of Inveracity" and "Vomitorial Corpophagia" to absolute hogwash like this? It's a simple answer really. The long misused assertion made by unintelligent half wits of "I CAN DO IT BETTER". And this band thinks that making the concept of slams better means to do nothing BUT slams.
Much like the blast beat, the slam needs to be earned. You need your song structure to build up to a logical need for a release. For some bands this means dissonant strings over some ride-snare hellfire. And for some bands this means busting out a chunky and formed groove. Bursting open windows and eardrums and making hair roll in a counter clockwise direction. But making a song simply out of either one of these is a recipe for both boredom and eventual annoyance. In short, these guys are to the slam, what Last Days Of Humanity is to the blast beat. None so vile, and none so damn boring.
You can't get more than 10 minutes into this album without a headache, trust me, I timed it. Every time a singular good Idea popped up, it was shot directly back down into the ever awaiting ground. Take for instance on the second track, the buildup of slams seems like it's leading to a conclusion involving some nicely placed tremolo over some blast beats. Nope, it's just a fake-out for more pseudo groovy, nearly nu metal sounding slams. Actually that's what this album makes me think of the most, nu metal. Every riff that goes nowhere, every tough guy styled drum fill. This album is trying to act like it's so influential and beyond your grasp. But they limit themselves so severely with their style that you start to wonder where the first idea begins and the last one ends.
The material given here might have somewhat worked for a 5-10 minute EP at the most. But this is a 41 minute full length album. That is far beyond what this album is capable of. Bands seem to think that a mammoth opus makes a magnum opus. That for every increasing minute, the album gets better. Not only should this obviously not be true, but it can be a huge detriment to an album's quality. The reason that immolation and Vital Remains can afford songs that reach into the 10 minute mark is because they have enough variety to make a song sound like a trek. But the songs that are even HALF of that length (4-5 minutes) sound like mundane chores in a genital measuring contest of brutality. I guess what I'm trying to say is that this album is so…indifferent to itself.
It feels like so little effort was put into this. Like they thought they had a brilliant formula down and needed to expose it to the metal world. That they made repetition work, well they didn't. It's kind of like listening to a sped up drone metal album. But unfortunately, repetition absolutely does not work at high speeds. When I go into a death metal album, there are certain things that I just except out of it. One thing, is a vocalist that isn't going to make my ears cry out nevermore like a raven who just heard a terrible slam album.
I don't know if I should hate Devourment for doing gutturals right. I mean they did them RIGHT. But unlike Devourment, who understood the need for slight pronunciation and exasperation, this vocalist is a homeless man in the subway station of stubborn consistency. The fourth track is what makes me hate him the most. With his gurgling and constant blaring of a scraping choked burp. Everyone thinks they can be as good as Devourment without the one thing that made Devourment so good, atmosphere.
I know I drone on and on about this in my reviews, but atmosphere is key to death metal. If you miss the atmosphere, the album has no clear mood or tone. Okay so what were they going for here? I'm guessing blunt force brutality, okay. There are certainly ways to do that, but not when you make your production so sterile and pushed apart. Maybe it's the monotony, but I feel like the instruments are way too isolated for each other. Like they were recorded in separate countries, and were compiled by somebody who thought they sounded just fine on their own. Keeping nothing of the usual gleam of a first or second take and using the usual copy-paste style of modern death metal production. If you ask me, it makes me feel like i'm listening to a robot play these instruments, completely lifeless. i don't feel scared listening to this album, I don't feel sick listening to this album. It misses the point of it's style entirely. if Pathology picks up the dirty hospital feel so well, I guess these guys could content for the perfect example of sterile bathtub sound.
With the monotonous riffs, sterile production, boring drumming and chaffing vocalist, this album is really not worth the silicon it was printed on.
FINAL RATING 1.5/10
...and to put it bluntly that doesn't automatically equal a good thing. Not saying this album is terrible, nor terrific, but judging by the cover art alone, you can very well assume that this record is going to be as brutal as its musicians are willing to make it. A cover featuring the likes of a mangled mother, carrying in her womb, an infant with a demonic face while she lies helplessly deconstructed and destroyed. An overly disgusting/disturbing cover isn't anything unexpected by a band as such in this genre- not to mention, it usually turns me away - but then again it's the music that matters. I love slam, but if a band is doing nearly nothing but slams, and just variations of them with barely anything apart from these bits, it's not my strong suit or cup of tea. That's exactly where this album lies itself in the boundaries of; slam upon slam.
There are almost never parts that aren't slams. So many to where it's almost enough to call Cephalotripsy the Emmure of slam as Emmure are of breakdowns. Hahahaha. But to break the fourth wall to you, the reader; don't take that line too seriously now - for bringing a band such as Emmure in a review for a Cephalotripsy album. Because trust me, if I was reviewing an Emmure album, this wouldn't have gotten nearly anywhere near the score I gave this.
Anywho, let's look at the overall statistics and talent of the musicians on this release; guitars of course are a huge jumble of slams while bass ties needly in the background. You can't hear the bass so well in audibility, but it's there in the presence of rumble, and of course this album (like many bands outside of metal and otherwise) have a few bass breaks where the music stops completely, giving the bass full audibility to the listener, but of course this is rare. Other than this, drummer Forest Stedt provides a good combination of blast beats, double bass patterns and dynamics throughout this release. He's a pretty solid drummer for this particularly kind of music given how slow slam bands usually are. I was expecting him to eventually do a few fills, but then again the brand of music that Cephalotripsy play make this almost impossible to do in the longrun. Overally, a pretty good drummer and definitely not bad.
Finally for vocals sake, Angel Ochoa is probably the most boring thing on this whole release if not the most boring slam vocalist I've heard since Vladimir of Abominable Putridity (who was even replaced after their first album). And while I do normally not care so much for vocals just to make a band good, I feel like he makes this album a near snoozefest, if it wasn't for everything else on this release that make it almost generally quality. His vocals are a croaky burp-sounding gurgle and there almost are never any variation other than the very occasional pig squeals he does, and it sounds like he's saying the same thing over and over on the release. I mean I know lyrics are understandable if you read them along with the vocals, but his vocals are just so bland there's almost no care for me to even do this.
In most extreme metal bands, I find bands like Devourment (I LOVE Devourment might I add), Job for a Cowboy, Skeletonwitch, Cannibal Corpse, Wolves in the Throne Room, Ingested and several others that you've hopefully gotten the idea from now based off of what I'm about to explain... these bands have audiable and nearly understandable vocals and captavate me enough to want to dig into the lyric booklet when I hear them say something that sounds relatively badass and it's like in a sense, me trying to comfirm that that awesome line that I thought I heard was what they actually said. Cephalotripsy completely lacks this sesnation or even remotely interesting vocals at all for that matter aside from me even going forth on them being intelligible or not. And to prove this, I mean for fuck's sake, Australian slam goregrinders The Mung have literally no lyrics, just grunting and screamed nonsense gibberish (lyricless vocals) and even with them, I think their vocals are absolutely badass, especially compared to this. Ochoa is the weakest attribute to this entire release, and I feel like he made it more boring than it should have especially by the consideration that the vocal style he uses can easily be made into quality vocals if done properly such as in the likes of Jonathan Huber, Mike Majewski, Ruben Rosas, Big Chocolate and several others. Gutturals are amazing when you're not making them sound like you're belching for 30 minutes straight.
Finally, I just have to say that Uterovaginal Insertion of Extirpated Anomalies is a slightly just-above mediocre release and while I did say that I love slam earlier in this review, I want to remind any readers of this review again that I meant that in a sense that I love hearing some slams when they're not every riff on the album. Slams are like breakdowns; good once and a while, not all the time. And with that said, this album even holds a few moments where they make breakdowns actually out of the slams. Something I like to call slamdowns (usually said tongue-in-cheek of course). But yes, it's time to listen to my preferred favorite slam warriors; Devourment and Ingested while I put this album up on the shelf after spending a good half hour giving it a listen to to do this review. My final words before closing this would be, while not a superb album, it still needed a ton of improvement. I mean even Cerebral Incubation perform basically the same style as Cephalotripsy do, and I would whole-heartedly listen to them any day over this record. Thus proving there is a way to do this sound correctly, of which this album did not succeed in.
Is there really anything else to say? That word alone describes the music Cephalotripsy play quite well if you ask me, because this band is nothing but slams. Literally. Even with the founder of the fucking genre, Devourment, one still has to place an addendum that the band uses just as many blasts as slams; even their signature song "Babykiller", the one pretty much every slam band on earth has used as a guideline for their own music, places blasts inbetween all of its slams. Cephalotripsy have apparently skipped this part of their musical formula. Do you know how many sections there are in Uterovaginal Insertion of Extirpated Anomalies that aren't slams? I don't remember the exact amount, but there can't be more than four or five. And the ones I do know last about five seconds on average. For those of you keeping count, that's a full-length death metal album - 37 and one-half minutes in length - and only around 20 seconds of that is blast beats. Only 20 seconds of one of the defining elements of extreme metal. By that definition, one could reason that this band isn't death metal at all, but instead it's pure slam. But I suppose that doesn't matter - slam or not, this is one of the best albums I've ever heard.
The writers of this album are on a very fine line between writing nothing but slams and coming across as some of the most mentally retarded people on Earth. Cephalotripsy's music is what the most simplistic slam death metal bands on Earth aim for, and none of them will ever perfect the formula like this band has. Cephalotripsy have created what is by far the catchiest music to ever see the light of day, and lies just below Torsofuck in terms of heaviness and brutality.
The guitar riffs all chug along throughout the album, creating by far the best slams to ever grace the Earth in the process. Very rarely does the note the guitars are playing actually matter - the guitar tone, thick and groovy as it is, would in theory allow this band to play the same note throughout all these slams and this album would still be great. That is due in part to how well-composed these slams are: The slams do go into 4/4 every now and then, but the majority of them are played in 3/4 or 6/8, which is just how slams should be, as it makes them into the catchy monsters they are supposed to be.
The vocals on Uterovaginal Insertion of Extirpated Anomalies are all inhaled, gurgling purrs. Surprisingly, they're pretty strong and forceful for inhales, and they manage to stay pretty high in the mix of things. There is also a prominence of guttural pig squeals on this album, and they are also well-performed. They're slick and clean without having any guttural overtones, and aren't particularly annoying as pig squeals can be if the vocalist doesn't monitor himself. Though this is one of the most slurred vocalists I've ever heard, I'm able to keep up with what the guy says more often than not. The fact that he can outdo ninety percent of all the slam vocalists on Earth and still retain enough diction for the listener to hear what he says is a definite plus. The drums are another defining element of this album: the kit is surprisingly clean for a slam album. Cephalotripsy's drumkit resembles a slightly trashier version of Abnormality's: extremely clean cymbals, but the snare resembles a wood block in that it has little to no resonance in the mix. This is a plus, actually, because it allows the drummer to play extremely fast fills on the snare without the clanking becoming a nuisance. My final comment for this album is that the production is perfect. Extremely clear given the standards for most slam bands; the guitar tone is superb; the mixing job is flawless. Nothing's too low in the mix, and I'm sure the band wouldn't have altered this formula at all were they to come back to this album.
This album earns a 100 from me because for all intents and purposes, it is perfect. Nothing on this album is boring at all, because the band apparently studied musical theory for just long enough to discover these fascinating concepts like 6/8 and 3/4. Cephalotripsy obviously aimed for something - creating the most slamming album of all time - while writing this release, and it has evidently paid off. This is the pinnacle of the genre of slam death metal - things can only go down from here.
Perhaps the only proper way to review this album is drunk beyond all recognition, so I consider this the proper night to describe my feelings on it. In fact, after a few good shots of (terrible) brandy after an already long night of drinking, let me put it on right now to see if it hits the spot like it does any other night.
Yes, it does, even moreso than usual (were that possible).
Now this is understandably a naturally divisive album. Not simply because it's a slam death release; I mean, that being divisive enough comes with the territory, even among typically bro-like and unified brutal death fans. Cephalotripsy is somewhat divisive, however, even within slam itself. If I might make a dangerous comparison, Cephalotripsy is essentially to slam what Emmure is to deathcore: taking a subgenre known for taking its parent style to its logical extreme to ITS logical extreme, thereby driving away all but those completely infatuated with the most barbaric and ignorant elements of a genre. Only half-jokingly dubbed as 'funeral slam' by a friend of mine, Cephalotripsy is, in essence, what happens when you divorce a slam death band from any of its traditional death or brutal death leanings. This is actually a slam album defined by its non-slam portions rather than its slams because they are so unbelievably few in number. The points where this rises to blast speed can probably be counted on both hands without trouble.
I'm sure this has already driven numerous people away. Have at it, we don't need any more crybaby opinions from those who need thrash riffs everywhere to feel secure.
I tend to have a very high opinion of such pitilessly base and hateful music as this, but even then I must say this album stands head and shoulders above the rest in terms of execution. As I've said for other albums respective stylistic descriptions, when someone thinks of the term 'slam death', this is probably the imaginary music that plays alongside such a description; it's just mildly surprising, much like Rigor Sardonicus, that someone has actually put such unbelievable music to disc. Cephalotripsy's music resides in double-digit tempos almost exclusively; the occasional blast or double-handed snare roll will pop up, but for the most part this band glides from slam to slam like some syncopated vampire bent on draining you of your will to avoid slow, mildly sensuous headbanging. The band's ability to continuously come up with new, novel rhythmic and melodic patterns for a segment so heavily used as the slam breakdown is commendable on its own, but the fact that the band manages to pace its slams so well and incorporate them not just into the body of the music but as the body of the music itself is what makes them remarkable. At no point does Cephalotripsy feel like they resort to the slam pattern as a simple lack of creativity, but simply because it's what they enjoy most.
Vocals are primitive, inhaled gurgles and pig squeals, the drum sound is almost offensively trashy, with heavily triggered bass drums and Fisher Price, and the riffs are hardly the height of creativity; it is, in essence, the sort of basement album you would expect from people far too infatuated with Devourment to be worth your time. And yet, here it is, almost demanding that you try to impose a sort of stylistic imperialism on it. 'Uterovaginal Insertion Of Extirpated Anomalies' doesn't reject stereotypes or labels; it wholeheartedly embraces them as sees nothing wrong with slam, and indulges in the most overused tropes of the style from snare strike to popping snare strike without a hint of self-consciousness. It is hideously overindulgent, excessive, and corpulent in every way: in short, it's exactly the sort of flagship that slam death requires.
This isn't to say that the worth of this album is purely symbolic: it's one of the best slam albums ever released. The thunderous grooves of the title track are instantly memorable, as are the sinister slam patterns of opener 'Excavation Of Encystation'. But it must be said that, like Emmure is deathcore for deathcore fans, this album is slam for slam fans, with absolutely no concessions made for people who only enjoy the album with wringing hands and various qualifiers. The almost complete lack of tremolo riffing and 'normal' death metal tropes is bizarre to some and offensive to others, but then again, 'Uterovaginal Insertion Of Extirpated Anomalies' was never branded as an album to redeem the style or somehow propel it into mainstream acceptability; it dives headfirst into the most odious elements of the genre without a care.
What metal really needs is albums like this: not necessarily in genre (though more slam is always appreciated), but in releases that absolutely bend to no one's concern or opinion on how something 'should' sound. It is wholly its own beast, and for better or for worse, is an example of what extreme music should be: uncooperative, bestial, and intelligent in its ignorance.
Looking at the average for this album, you'd expect a terrible album. This is true of most slam death metal bands. Slam is a horrible divider in extreme metal, it seems. Perhaps it's due to the vague similarity to metalcore breakdowns that so many metalheads seem to hate. Perhaps it's due to the overall simplicity of a lot of slam sections. Perhaps it's due to the fact that due to the drop tuning and drum patterns, a lot of people think it all sounds the same. Either way, it seems like the people that hate slam are just about the only ones reviewing it.
As such, it seems as if the whole world hates Cephalotripsy, and if that's the case I can't figure out how they're getting so many shows. The entire metal community can't be comprised of "wiggers", obviously. So what is it? I don't think I'll ever know.
What I do know is that this album is a fairly solid album of slam death metal. No doubt, there are a few problems with the album: the triggered bass drums are the most dreadfully fake drums I've ever heard, the guitar lacks a little in the tone (little more low-end would have helped), and those lyrics sure aren't decipherable. It's not a perfect album, but it is a solid slam album.
The lyrics are quite interesting, if not a little cryptic. The lyricist has an impressive vocabulary (I looked up a word or two), and seems to have the right balance of bullshit pathology terms instead of going overboard. The average listener can still pronounce and remember the song titles of their favorite songs, unlike a lot of gore bands out today (I'm pointing at you, Lymphatic Phlegm).
The delivery is a little lacking, though. The vocalist has an extremely impressive low, burp-type vocal (even his pig squeals are the lowest I've ever heard) that doesn't seem to be processed or pitchshifted. While the vocals are worthwhile and aid in creating effective slam death, it's almost as if he might as well not even write lyrics. Every guttural syllable sounds to be "Er" or an occasional "Eee" for flavor. Nonetheless, the exteme low vocals work for this band, where for another band they may have been useless.
Musically, the album is exceptionally good for slam. The song structures are fairly similar to Devourment, with alternating fast sections, grooves and slam sections. I'm reminded of the "Butcher the Weak" album with a much-needed production boost. I still would have put the guitars a bit higher in the mix, but this is a matter of personal preference. The production works well for a slam album.
I recommend this to anyone who enjoys slam or groove-based goregrind and pornogrind. This album is about halfway between Devourment and Cock and Ball Torture, and will please fans of both.
Yes I agree with the previous reviewers in many of their views. Every moron in sight can see that there is an over proliferation of slam influenced brutal American styled death metal. Most of those bands suck, this is also true. Yet is it not strange that half of the accusers of this album do not listen to brutal death metal, let alone slam death? If they would they would know that equating this music with Devourment is like saying At The Gates is the same as Nihilist because, hey, they are both Swedish, right? In one word, it is under educated idiotic lashing out at anything they do not understand. Yes that sort of music, like any other form of metal when made into an unthinking trend as is the case with slam death metal nowadays, is destroying metal. Does this mean there are no bands that play this music well? I will let you be the judge of that.
To start off, this music can hardly be categorized as metal. Most of these bands do not think of themselves as metal bands, but rater insist they play death-grind. Notice how they get rid of the metal from the death metal moniker. They do this because they are aware of the fact that they do not play metal. It has its roots in the American death metal tradition, but it is a breaking point from that tradition. Secondly, yes this album has some glaring faults. One is the dead production, over triggered and over produced. Two is the fact that this album does have fillers, songs that go absolutely nowhere but just kinda bash your brains in and then leave. Three is the fact that the guitarists play one style of riff, and that is slamming. That is all the guitars do, slam and slam some more. This gets tiring after roughly 4 songs, but the album only has 9, so minus the fillers, you are left with a very powerful demo.
The good points that no one is pointing out are the drums, the vocals, and the over all song structuring, as well as the mission of this band. Since the latter seems to be the most confusing, let me spell it out for you guys. These people wanted to make an album where nothing happens but slamming. They wanted to release a death-grind album that is slow and heavy as all hell, and yes they did succeed. And they managed to not rip off anyone too much, not anymore than in any other genre of metal, at least. Influences of course are the typical Devourment, Disgorge (US) in terms of sound, Inhuman Dissiliency, etc. but they play that music with very much their own twist. The rhythmic subtleties on this album are astounding. In the very first song we get a breakdown that is structured in a way that while the guitar plays a four-four riff that is slanted to have an emphasis on the three, while the drummer plays a 6/8 beat under it, disorienting the listener to no end. You simply do not expect riffs like that. But of course they are slamming, so it’s just the same old shit right? I mean, every other band is writing riffs like the aforementioned, right? Wrong. Another thing that people are wrong about when it comes to this band is of course the vocals. They are inhaled gurgling vocals, to be sure, but have you ever heard a person sound quiet like this? They are not typical, they are throatier than usual, and are wet and smacking sounding. I mean when this guy gurgles, you can hear the liquid moving around. Maybe a sign to stop smoking. Anyhow it is real gross and dominates the sounds very well. His singing can also be characterized as technical, as he changes between his vocal ranges along with the music and to a set pattern, not just emoting his words like most metal singers. In fact, that might be the reason why people do no like his vocals, they do not emote. It is something else alright, but then why call this typical?
To end this review, I think this album is great, it has comedic value, and is great fun to listen to. It is riff centric, pulverizing and slow, but with a crappy recording sound. I might as well be saying that about Thergothon, too. This album also has some fillers, some good ideas, and only one style of guitar work. If you do not mind an album that is dominated by the vocalist and the drummer, get this by all means. Few bands within the whole shit infested and kitschy world of slam make it their prerogative to be the epitome of everything good about slamming, and offer no quarter form the slamming riffs. As such it is an interesting listen. Too bad about the fillers and terrible recording, but next time they may grow enough to realize the sound that is best for their music. A good debut. And by the way, the vocals are NOT PITCH SHIFTED!! Do your homework, losers.
I dont like writing negative reviews. You look at my reviews list, and I praise albums that I love, because I feel that I should support them, then maybe people will listen and appreciate the work as much as I do. But this, this is an anti-support review. This album is one of the things wrong with metal today. Bands like Cephalotripsy trade any semblance of good music and just pound away at the same 1 1/2 step downtuned chords, combined with the equally unimpressive bree-breeing vocals and horrible sounding triggered snare drums. The worst part is that this sounds exactly the same as the previous slam/brutal death album. There's no originality or soul in this music.
Honestly, I could not sit through this album the first time through. Repeated listens helped me come to the conclusion that this is a bad record. The main thing that is wrong with this and most brutal death metal out there is the guitar sound. When you downtune your guitar so much, add so much overdrive and distortion, and just bash away on it, you dont get a great riff, you get static. And that's what the guitar sounds like throughout this album, static. Brutal death static. The type of stuff that metal's detractors always harp about. This seriously takes no talent to do. Combine this with some of the worst sounding drums I've heard in my life, and you've got this. Then you still have the heavily pitchshifted vocals that you cant understand, hardly audible bass lines, and drum patterns that seriously make you question whether these guys have any ear for good music. What's going on? And the cover is just like any other BDM cover to boot.
I guess the 5 percent I'm giving this album is from the fact that these guys actually got a record deal out of playing this. I can't find a single riff or breakdown or passage in this whole album that is worth listening to. Its all the same. There's no personality in the music. The sterile-sounding production brings out the lack of soul or substance in each song. To me, it sounds like the producer and the engineers just let the sessions ride, not bothering to do much but maybe move a level or two. Maybe they realized they were working with musicians who don't understand that 5 riffs being played on top of a down-tempo double bass pattern doesn't make a good song. It's very disappointing to see that an album like this exists. It gives fuel to the idea that metal fans are mindless, screaming idiots that bash on their instruments for hours and call it music.
Just stay away from this album. I would say to stay away from this style of metal, but there are bands that put their talents to good use and actually make this style of music sound great. But, Cephalotripsy does not, and I don't recommend wasting your time and money on an album as bad as this.
Listening to this record was a complete waste of my time. I have a theory that most Brutal Death Metal bands with gore related themes tend to blow, and are a complete waste of time. My theory has once again been proven. Let's start off with a brief description of what the sound like.
Cephalotripsy = Devourment. With better production.
I'm sick of all this "Brutal Slam Death" faggotry infesting the genre. Same goes for Deathcore, but that's a different story for now. I honestly don't understand why wiggers have had a sudden interest in Brutal Death Metal. This is disgusting. These bands are too stupid to realize that relying on the same song structure throughout one single album does not get you anywhere. Well, maybe with the scene kids it does, but not with people who have a sense of integrity.
The guitars are cleanly produced, but very boring, typical, bland, stupid chug-a-chug rhythms then moving into tremolo picking. Nothing interesting one bit here. The bass. You can't hear it. Nor do I want to hear it. With a band this boring and typical, I would rather run outside naked, take a shit in the middle of the street and be arrested by the police. That would be much more entertaining and adreline pumping than this worthless album. The drums are again your typical "Brutal Slam Death" patterns, moving from mid-paced rhythms to blast-beats, switching back and forth constantly. The vocals can only be described in one way. Garbage. WHY DO BANDS USE PITCH-SHIFTED VOCALS NOW? WHAT THE HELL HAPPENED TO THE GOOD OLD DEATH GROWL?! This constant gargling, pig squealing is all boring, a word which I've overused, but this is the only way to describe this album. The production is good, and I think they spent much more time on it than actually trying to produce a Brutal Death Metal album with integrity and sense of actual musicianship.
I recommend you go kill yourself first if you want to buy this album.
Wow, just wow. That was the first thing I could think of when I first heard this band, and now that I have their debut full length, my initial thoughts are only further reinforced. This band is just ridiculously brutal. There isn't one riff on this whole cd that doesn't bludgeon your skull.
Musically, I would make some comparisons to Devourment, as this band does rely very heavily on endless streams of palm muted, chuggy riffs, but Cephalotripsy is a little less grindy than Devourment. There are certainly more than enough blasts, on this record, but the riffing tends to favor a mid-tempo slam style. The drumming on this album is excellent. All the beats perfectly complement the riffs, and the drummer certainly does'nt go overboard and blast non-stop, he knows when to lay things down, and when to go nuts. There are some very technical moments in the drumwork however, and the use of gravity blasts is realy cool as well.
The vocals on the other hand, are simply out of control. This guy is doing something I've never really heard before. His vocals are a mix of croaking and gargling, with some squeels thrown in. But it's his delivery that is totally unique, as I've never heard anyone quite like this guy. However, I find it strange that this band takes the time to write lyrics as detailed and excellently written as they do, as no sound this guy makes resembles a word on the lyric sheet.
The production on this album is superb. Every instrument sounds great and is perfectly level with the rest of the instruments.The drum sound is particularly noteworthy, especially the bass drums. You can even make out the extremely subtle dynamics in the snare drum and cymbal work. This album is pretty sick overall, and any fan of ultra brutal death should check this out, especially fans of Devourment.