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Orgy of Murder, I'm Driven to Kill - 100%

taargus666, February 28th, 2011

I'm not going to waste time in saying this: This is the strongest, most diverse Gorgasm album to date. For any fan of Gorgasm, or any fan of brutal death in general, that should say something... specifically, "Make this your next fucking purchase at all costs."

In many respects, this isn't a particularly surprising release from Gorgasm. They've carved a unique sound amongst the droves of Suffocation/Deeds of Flesh-style brutal/tech bands by melding over-the-top grinding brutality with classical sensibility. They still do that on this release, arguably more successfully than they ever have before. What is surprising about this release, however, is that they've put a foot into the burgeoning realm of slamming brutal death, likely thanks to the influence of new drummer Kyle Christman, veteran of the fellow Indiana brutal death band Human Filleted. They've also expanded further out of the realm of 4/4. Although previous releases toyed with odd time signatures from time to time, this is their most ambitious effort in that regard, and the results are, as the cliche says, "fucking brutal."

As per Gorgasm tradition, the drums on this album are fast and blasty as fuck. In fact, this is some of their fastest work to date. What I found a lot of the older releases lacked, however, were drummers that tried to make their drumming a bit more varied. For that reason, Christman is Gorgasm's strongest drummer to date - along with an obviously practiced blasting technique, he brings some great fills and an ear for odd time signatures into the mix, which is maybe the only area where a significant improvement on the classic Gorgasm sound could have been made in the first place.

The guitar work is, yet again, impeccable. In bringing guitarist Ryan Saylor on board, Leski has found yet another capable partner in making his melodically twisted vision a reality. Chromatic riffs are evident most prominently during the slams, and the tech riffs contain the bulk of the Bach-inspired content on the album, which is a great format for them. Again, though, the band has stumbled into new territory on this album, including some slower, more open, even "epic," chording riffs with deep melodies and great bass work under them.

Oh hey, the bass work. Anthony Voight, also of Human Filleted, has taken over duties for this album, and yet again, Leski has found a replacement that does more than just fill the shoes he's been left with. As usual, the bass on this album is plainly audible and matches up with the guitars. This is not to say that Voight simply follows the path the guitars blaze, though he does on the riffs that call for a bit of low-end reinforcement.

The vocals are typical for Gorgasm - dual duties between Voight and Leski, neither of whom go with the ultra-guttural gurgling that dominates brutal death today, and instead opting for more of a Frank Mullins deep growl. I don't prefer one to the other, so long as they're aggressive enough to go with the rest of the music. These vocals check out and then some.

Perhaps the best way to sum up this album comes in the opening few riffs in the song "Exhibit of Repugnance," released in late 2010 as the first promo for the album. It opens with a jerky 14-beat intro, complete with a nice little quick stop at the end to throw you headlong into the first riff, which is a grinding palm-muted riff with plenty of dissonant melody and, as far as I can tell, the fastest blasting this band has ever used on an album. After two cycles through the riff separated by a thrashier interlude between them, the guitars open up and play some rich, dissonant chords while Christman plays a shuffle beat (of course, with more than proficient double-bass work under it) and Voight continues shredding under the whole mess of it. All of this leads into a slam that alternates between 7 and 8. It's a fucking chaotic 75 seconds.

Other pinnacles on this album include the slam at the end of "Infection Induced Erection," everything about "Dirty Cunt Beatdown" including the name, the solo and proceeding groove riff towards the beginning of "Bloodlust," and the choppy riff in the middle of "Silence Follows Dismemberment." Overall, though, there's not a weak moment on this release. If you like slam, brutal death, tech death, melodic death, death metal in general, or even fucking music, you should get this release now.