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Review: Scrotoctomy – Born To Eviscerate

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From Mexico, Scrotoctomy’s Born To Eviscerate album brings us deep down into an abyss of sadistic and even perverted realm of brutality known as Slamming Brutal Death Metal, a pit known to have listeners hypnotized and enthralled in its depths, and just for one moment, abandoning everything they know about humanity.

“Royal Impalement” rings the dinner bell for our slam zombies, for it has all the ingredients in the meat grinder to attract the most ape-like of Devourment fans, in particular, the ones from the Unleash The Carnivore era – Oh the joys of being a knuckle dragger. As they gorge, they will realize that his album is plentiful in gurgling vocals and double-kick patterns that simulate the crackling of a human spine. The guitar riffs on this track are actually quite interesting, if you listen closely in the verses, there is a hint of 90s death metal and black metal influences in those tremolo picks. Of course, the slams build up and deliver in a groove-like manner I haven’t heard since Visceral Disgorge’s Ingesting Putridity album. This is a very good way to begin an album considering that some slam albums don’t find their groove till the third track.

The majority of the album seems to be a strict formula composed of death metal segments, grooving segments, and proper slams earned in the bridges of the songs. Believe me, every single bridge of every song is worth the wait. I cannot get enough of the vocals! They are in the form of an infinite gurgling throughout the album – I didn’t think I would hear that practice again in a long time. While it is very hard to determine which death metal sub-genre is the heaviest, I can confidently say that vocalists like this dude are the reason Slam is known to have the deepest pipes. Unlike deathcore vocalists, there is no pitch-shifting happening in the studio, so what you hear on the album is what you’ll hear live.

Personally, I thought “Through Maggots and Entrails” was the third best song. When it comes to songwriting, I think this is one of the more thought-out tracks. It not only has one of the best riffs, but also one of the best riff-interchanges. The vocals stop in all the right places, the kicks are not just clicking away, and even the slams reflect thought and process. I think this is the point where the band starts to mature by going beyond the chopping and sawing away at meat, and taking the form of a sophisticated meat grinder.

The main drawback to this album is the frequent use of movie samples; this is in fact, a huge problem in Slam. Someone in the studio needs to tell these bands that no one is interested in what movies the band watched over the weekend. “Sextrangulation” as you can imagine, had a very iconic intro. I don’t know what movie it’s from, but all I’m going to say is that its strong theme had cannibalized any potential impact of the song, which did not come in until fifty-five seconds into the track. Had they played a riff over the movie sample, it might have made a difference. For this example, I think movie samples should be a bare minimum of a few seconds.

“The Taste of Sickness” and “Psychological Mutilation” are ones I felt were the best songs on the whole album, for one they had the most riffs, the double kick leg work rolled and rolled like a chain of a conveyor belt. Due to the amount of interjecting slams, it almost felt like an instrumental, and overall, they are the faster songs that demonstrate the band’s versatility. If they want to one day be in the league of the more technical bands like Abominable Putridity or Mastication of Brutality Uncontrolled, this the standard they will need to make more songs at.

I give the album 8/10. Its three best songs are definitely worth putting on the playlist, and the overall album is one I recommend in every slam fan’s collection.

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