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While there are a host of bands taking the whole compound word craze a little too far, not to mention a growing number of so-called brutal acts whose band and song titles border on blatant self-parody, this does not necessarily lead to an all out impoverished experience musically. In particular, Perth has seen the rise of a recent storm of notes and shouts that I will simply refer to as DFC (the band's full name reeks of reaching for shock when there is no more shock to be had), with a slightly better album title in "Ungodly Violation" and a decent musician set to back up the lofty claim. The lyrics generally consist of the usual attempts at shocking senses and sensibilities that goes with brutal territory, but that is where the typical nature of things here terminates.
DFC can't be described solely as a technical band, nor a typical brutal/slam act for that matter, but there are plenty of indications that both styles have had an impact on the resulting sound. There is a level of randomness to some of the riffs that filter in and out of the asymmetrical songwriting going on here that definitely points at the mathcore side of the grind equation, though it never quite crosses into the quirky territory that goes with earlier works out of The Dillinger Escape Plan. But for the most part, the influences are fairly multifaceted and include a good helping of Cryptopsy influenced technical wonderment and the flesh ripping, machine-gun character of The Berserker. All the while, vocalist Blake Simpson comes off as a nasty mixture of traditional Chris Barnes worship and some occasional Lord Worm shrieks, sounding a bit more human and methodical in contrast to the incomprehensible pig-squeals and guttural belches that tend to go with this style.
There are a number of individual points on this album that could be pointed to as highlights for their auspicious usage of virtuosic drum, bass and guitar work, much of it localized on longer songs. The brooding stops, starts, and frequent sweeps of the lead guitar on "Chemical Castration" are equally as impressive as the spoken words that kicks the song off are appalling. "Rectal Gorge" also takes some impressive strides in the technical department, reminding heavily of mid-90s Cryptopsy revisited with a slightly more mechanistic production. But the end all, be all of this album is the closing song "Beset By Rapists" which essentially functions as a demonstration of every member's abilities, though the bass particularly shines on this one with a number of frequent and fleeting solo sections that are, again, heavily reminiscent of early Cryptopsy.
As with any death/grind offering, this one comes loaded with a lot of over-the-top content baggage that generally functions as little more than a random museum of horrors, though some implicit statement might be lurking beneath the gore and depravity. Anyone who had their gag-reflex tested during the 2002 film "Irreversible" may want to skip the last couple minutes of this thing as it's one of the few moments on this album where things actually get disturbing enough to illicit the sort of revulsion that the rest of this album was going for. Otherwise, the true punch of this album is found in the musical performance, with DFC proving to be a cut above the rest at their instruments. Anyone who wants to hear what Brain Drill would sound like with a bit more tact and subtlety should definitely check this out.