Is it something in the French DNA that makes French extreme metal bands produce albums that go off at a tangent, it doesn’t seem to matter what genre they indulge within either as Putrid Offal’s deathgrind obliteration will certainly raise a few eyebrows on the occasional track here and there This long established act has been around for nigh on three decades releasing a spattering of splits in the 90s before falling off the face of the earth in about 1995 then resurfacing in about 2014 to release the EP ‘Suffering’. Full length ‘Mature Necropsy’ in 2015 collected together the bands early material as this latest effort really showcases the band as they are today with new material which is brutal, wacky gore drenched splatter worship.
Originally out earlier this year in May it is getting a second push it seems and rightly so considering the quality of the material which kicks off with a sort of intro ‘Autopsy’ with a spoken voice (courtesy of Marina Toussent) and backing guitar work that leads up to ‘Let There Be Rot’ and the explosive gnarly surge in speed. There are obvious references to early Carcass and General Surgery throughout this release on virtually all the songs as the band unleashes a gore storm of riffing that batters through the sporadic blast beat incursions.
‘Necrotic Mutilation’ is borderline goregrind fodder with its maniacal tempo and screeching vocal manifestations that veer from gut disembowelling tones to banshee dementedness right before an awesome bass riff is inserted that reminded me of Repulsion. Massive Carcass rears up on ‘Charnel House’ initially though the song delivers some crust like riffing integration too but as the song evolves it unveils a clean female vocal line by Hélène Le Deist that really catches you unawares, I told you they were wacky; for some it will be a step too far, for some you will scratch your head, others it’s sheer genius but I’ll leave you to decide.
‘A Rot’s Caress’ is a magnificent short grinding stab in the face with a grooving riff and fine bass hook insertion and followed by another short gutting track ‘Glorify Me’ where Hélène adds vocals again. Stéphane Buriez (Loudblast) does guest vocals on ‘Livor Mortis’ returning the album to a more deathly style yet retaining the frenzied grinding speed as the band unleashes a fine buzz saw riff to deadly effect. ‘Pallor Mortis’ has one of those riffs that grabs hold of you with its catchiness and refuses to let go as another guest vocalist appears on ‘Skilled Ritual’, Arnaud Dhenain Le Bourhis (Black Bomb A) which opens with a cracking bass line and piercing riff.
‘Barber Butcher’ is colossal, the short fade in submits to another monumental bass riff and stop-start riff that is wholly infectious with a devastating blast section as the groove phase is very melodic in that Carcass sense. There is only word to say about the opening to ‘Heaven’s Door’, Motörhead, as the double kick salvo is rock infused before the song detonates with the crust like vibe before the album closes with the outro piece ‘Vasectomy’. This sludgy ending with its worming guitar threading through is eerie and oppressive fitting with how it began as this French outfit has delivered an album of pulverising intent laced with oddball antics.
(8.5/10 Martin Harris)
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