Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Necrocannibalistic Vomitorium / Sloth

Sloth / Necrocannibalistic Vomitorium

If Anus Presley and Pee Pee the Sailor Had a Kid - 60%

Cat III, May 14th, 2019
Written based on this version: 2010, CD, Horns & Hoofs Records (Limited edition, 3" CD)

The three inch mini CD holds some mild novelty. Other than the disc I'm reviewing, the only one I can think of is the Fuk You, It's Eat My Fuk EP. That one comes in a cardboard sleeve, while this one comes in clear plastic with a drawing of a pinup girl and the bands' logos. It's a nice way of making the scant packaging feel unique. This may be a lot to write about such a trifling matter, but I figure if you're interested in a split between bands as underground as these, you're enough of a dork* to care about the collectable aspects of a release.

Between Necrocannibalistic Vomitorium, the Ukrainian band that open this split, and the Autopsy song from which they took their name, necrocannibalistic has come to be my favorite of the vomitoria. Given the provenance of the band's name, you'd probably expect some death/doom or OSDM, but the similarities with Autopsy stop at a preoccupation with sadistic perversions, specifically of the sort explored on Acts of the Unspeakable (on which appears the aforementioned song) and its followup Shitfun. Instead NxVx play pornogrind. Their take on the sub-subgenre is especially groovy and elastic, largely owing to their unusual makeup of bass, drums and no guitar (their debut LP Fiasko Sexualnoy Morali being the only exception I'm aware of). Bassist Maria “Shurshunchik” is the main attraction. Her signature bulky, distorted bass tone bumps along “Road Timer” underlined by a more traditional bassline. The vocals are similarly layered. Per usual, Alexey “Yolka” provides his unintelligible growls. Over top these are banshee screams from sometime member Roman “Umka” (he was guitarist on the previously mentioned debut and has performed vocals on various other releases). Thumping drums create a swinging beat on second track “Demon Hep-Catman”. In staying true to the title, we're treated to some bebop style death grunts.

If that seems weird, Sloth's tracks only solidify that assessment. As often the case with the band, the tracks are untitled, though the lyrics are clear enough to identify them. These are songs they performed on various releases prior and which were compiled on The Musikzimmer LP. In these versions, the band's mid-period sound appears to be encroached on by the harsh noise that would define the next leg of their career. It's still simple, rhythmic rock with chanted vocals (courtesy of Neecie aka The Link and drummer Alessandro), but crackling with static fuzz. Imagine a drum circle you'd find at Burning Man playing inside a wind tunnel. Lyrically the songs are uber-cutesy as typical of releases from this period of their career, making it strange to think this once was a sludge metal band, albeit one with a sense of humor. Sloth are nowhere near the top of noise rock artists (I fear my unqualified comparison to acts like Sonic Youth and the Melvins in my review of their split with Nunslaughter might give the impression they were of the same caliber rather than giving a rough idea of the sound they were going for). However, they are, or rather were, amusing and their eccentricity came off as guileless instead of manufactured.

Stylistically, there's much distance between NxVx and Sloth, but they're united in weirdness. If you hate either or both, at least this split is a brief twelve minutes. Even fans will admit these two bands are best consumed in bite size.


*probably