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Coprocephalic is an internet based brutal death metal band featuring vocalist Larry Wang, most notably of Gorepot and Guttural Corpora Cavernosa, Hsuan Liu also of Guttural Corpora Cavernosa, and Christiani Peluso, ex Cerebral Engorgement. Since their conception they’ve released a promo in 2012, this full-length in early 2013, and recently another promo.
The first thing I noticed about this record is the absolutely abominable guitars, done by Peluso. The riffs; while in most places catchy have very technical finesse to them. Right in the first real track on this record, “Servile Contamination” there is a dissonant riff with off kilter chords and a very convincing sweep to accompany them. Another riff within the same song, while short, gives us an almost ambient feel in the way the riff is played with each string ringing off, and again a similar riff in “Injected with Violent Supremacy” and in many other tracks. In the title track, “Gluttonous Chunks” we have; again a very short, sweep that would be a solo for most bands. Another unmissable use of dissonant riff coupled with sweeping is in the track “Scourging the Obese”. While most of the instances of this combination are short in this record in this track it is significantly longer. In the song “Concrete Exhumation” we see sweeps being a part of a regular riff. Don’t think this record is all dissonance and sweeps though. There are some just crushing slams on this thing, such as the crushing slam in at the end of “Inhuman Neurosis”, a decimating breakdown in “Pavement of a Thousand Torsos” and a slam in “Concrete Exhumation” of which is the only slam in the record to have the staple of slam, the solo guitar lead in.
Some very nice uses of harmonics on this record as well. Most notable a riff in “Inhuman Neurosis” where Peluso incorporates many, many natural harmonics into the riff; employing the same tactic again in “Injected with Violent Supremacy”; the harmonic accents the riffs committing it to memory. In nearly every song Peluso performs the same trick and it doesn’t get stale at any point in the record.
The drumming on this record; programmed by Peluso, are very noticeably programmed. Yet, they never sound manufactured to the point where it takes away from the music itself. The drumming seems to be there merely to keep the guitars in time and to accent the guitar riffs that drive most of this album. The drums do lack in that there are little to no fills. There good have been more fills just to make the drums seem more natural and less robotic. The only real flare the drum programming has is a nice little fill under the sample in the closing track “Embryonal Coagulated Genesis”.
The mixing here is fantastic. You can hear everything; except maybe the bass but no one cares about that. The only thing I can say negative about the record is they use an effect where it sounds as though you’re listening to the track through a phone a lot in the early parts of the album. If you passively listen you wouldn’t notice this at all but if you are listening to review it as I am you notice small things like this. Another fault in the mixing is the bassdrops. If you’re passively listening to this record on your headphones while working you’d never even notice the bassdrops because there is no punch to them. I don’t have the best system for listening to music but on my system the bassdrops merely distort the audio for a mild second and then return to normal as if nothing ever happened.
This is a fine record. A must buy for brutal death fans that like a good old gem in their collection. It doesn’t have many faults and the faults it does have don’t take much if anything away from the overall enjoyment. The work of guitarist, drum programmer Chistiani Peluso is fantastic, the vocal performance, while not standing out much is one of the best vocal performances of the year I’d say.