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Garish, but Effective - 75%

GiantRex, March 21st, 2013

Death metal bands with ridiculously blunt names aren't always as blunt as they seem. Gorguts, for example, made some highly technical music. Gorelord, or rather, Frediablo, made no attempt to rise above such stereotypes. The listener understands what Cannibal Corpse is about just from reading the name, and the same goes for this oddball side project of a band. There is a singular influence at work here, and that influence is horror movies. Gorelord is not the first band dedicated to the vision of producing the purely-audio form of a horror film. Mortician has a strong case for that title, but Frediablo's project has a major advantage over the progenitors - this album is actually enjoyable.

Unapologetic, straightforward, and simplistic to the core, Force Fed on Human Flesh knows exactly what it is and is proud of it. The record has nothing fancy buried within, hardly anything that could be considered innovative, and no class whatsoever. And yet, it's... good? How can that be possible? It's because Frediablo took the idea behind Mortician and learned how to actually write a riff. It's because he learned how to properly make use of audio samples from films without ruining the album. And, most of all, it's because he keeps it simple.

I mean no offense those involved in writing this record, but all of the songs here could be adequately covered by any reasonably competent band of high school metalheads. The album is outrageously slow by death metal standards. Like a zombie, it moves at a speed no faster than "shamble." At most middling in pace, the album is packed with breakdowns. For a surprising change of pace, all of them are good, even memorable. Also going heavily in the album's favor is its production, which is of surprisingly high quality for a project this obscure. The guitar sound has a truly satisfying crunch, one of best I think I've heard. The bass is clearly audible throughout and anchors the sound in the lower range for the duration of the record. The drums are restrained and do their job, nothing more. Along with the album's strange speed, the vocals also stand out as unusual. Frediablo originates from Norway, and the influence that black metal had on his work is obvious in his vocals.

The movie samples are part of what makes this record memorable, as garish as they always are. As ugly as your average Cannibal Corpse record is, there are never any soundbites portraying people undergoing the acts described in the lyrics. Here, the lyrics are all derived from horror films, so there are samples readily available to use for that precise purpose. Not all of them are great, but they make it completely clear where the band was coming from. Cheap cannibal flicks are what inspired this bizarre work. The one standout sample is the two minute segment from House by the Cemetery in the opening track. Despite that being the longest sample by far on the album and taking up fully half of the track, it's actually a well-chosen and appropriately atmospheric audio clip. I, for one, think it adds a fair bit of value to the album's aesthetics.

Of course, the aesthetics are gross and wouldn't even be considered aesthetics by most people. Too bad. This record does what it's supposed to do, and it does it well. It's heavy, sometimes devastatingly so. It's simple, to the point that it's a refreshing change of pace. It's meant to be good fun, and it definitely is. And it's kinda gross, but that's a good thing in this realm of music. If you want something that's completely different, here it is. It's not going to change your life, though.

Gore is cool. - 80%

Skallagrim, June 13th, 2003

This is a good gore album, filled with catchy riffs and amusing lyrics. For being the product of one man, it's diverse and creative enough to listen through in one sitting, even though some of the samples and riffs can get repetative and almost boring. Props to the House by the Cemetary influence has to be given, for it is a great movie and the sample on Dismembered Virgin Limbs fits with the track well. The 2nd half of the album, especially Alive when Fucking the Dead and Maggots Impaled have strange parts to end with. Hell's Kitchen is a superb ending track idea, being the longest track it can display an overview of the band's sound, which it does well. The album ends with a buzzing of what I assume is flies, and is a fitting end to a Gorelord album with titles like Force Fed on Human Flesh and Chainsaw Ripping Skin. The titles and lyrics were a highlight to me, I love violence.