Slightly severed head, swinging on the meathook that was put through the upper lip — a sight that will please the putrid heart of any respectable fan of grindcore and deathgrind. Judging by such song titles as «Spewment of respiratory putrilages», «Clinical pathos of the embryoctonia» or «Purulent and putrescent infiammation» (strange, it seems that it must be «inflammation», but hell with it, nobody is safe from mistypes) any moron who has even the slightest knowledge of English will guess that Russian band under a promising name «Septicopyemia» plays malignant deathgrind in the vein of Carcass’ vomithymns.

After the exploration of tape inlay it became apparent that the band consists of ether five or six guys — two singers (does anyone still call it «singing»?) under the cunning nicknames of Sexorcist and Malefactor, a bass player with guitarist named Carcassburner and Hymenicide (respectively), and… er-r-r… something under the name of Proctobomber & Coverage, playing drums. After my lingering and excruciating reflections on the origin of this outlandish Zmey Gorynych (a.k.a. multi-headed Firedrake), I was told by my friend (who joined me shortly before) to spread out the inlay and the picture of five musicians appeared before my eyes. Respired, I digressed from the musicians’ biological peculiarities and decided to examine the music itself.

Wow! What a vicious start! I totally went all ears and prepared for attentive listening, but to my horror all malice has suddenly turned to some garage Motorhead. I’d better not describe the metamorphoses that were twisting my face, because we found ourselves rolling on the floor laughing our asses off after the singers began to «sing» a ritual dance of the deranged Papuans that found a crashed plane full of half-dead passengers (cheery and gamy «ia-a-a-a-a!» turning into dazed and didactic «u-u-u-u-u!»). After calming down a bit we continued listening and discovered a lot of other amusing and notable things. First was the sound — «so-so» is the most exact definition of it. Second, the vocals. Twin gurgles coming as if from a lavatory pan are quite impressive and they’re perhaps one of the strongest sides of the band. Everything would have been great if the singers weren’t depicting an avant-garde soundtrack to the «In the World of Animals» TV-show, because such sounds as «plop», «quack», «croak» and «grunt» don’t conduce us to adequately appreciate the ideas that the band wanted to convey to us (of course, if they didn’t want to show us that humans are also competent in the field of nonstandard onomatopoeia). The music itself reminds Carcass a bit, but it is visibly simpler. The drummer is quite good when it comes to the diversity of rhythmical patterns, he only shouldn’t miss the beat as often as he does, and his extensive use of double-bass at the right time will make listening more pleasant. Guitar parts seem to be castrated in low frequency range, so they sound like an alarmed beehive. Horrendous guitar solos are giving early Slayer a run for their money. One thought is constantly chasing you during the listening — you’ve already heard that somewhere before. It goes like this — here’s the piece from Sadist’s «Sometimes They Come Back», and this part looks almost identical to Cannibal Corpse’s «Necropedophile». The second part of the album marked with a short, 10-second grind tune turned out to be more interesting than the first one, in that it had more «malignant» parts, and even some blast beats, a la Bolt Thrower. The vocals don’t change at all throughout the whole album and the poor listener constantly hears this wild howl that resembles a fight between two crocodiles choking on each other due to some feature of their metrical tectonics. Considering the accompaniment of this dreadful scene, the whole picture sounds like a picnic of drunk karatekas-cannibals (triple «ua-a-a!» and then «ki-ya!») in a swamp that is slowly filled with crushed concrete by a constantly slipping bulldozer. Finally near the end of the album both the band and tape became so tired that some mutual glitches became apparent: during one of the last songs the band apparently wanted to drop their instruments and finally have some beer, but managed to resist the temptation and continued playing. As a result of this spontaneous impulse, the song contains something like a strange avant-garde break which can really surprise you. On the whole, after having the pleasure of listening to this excursion into the world of a prehistoric cavemen’s encounter with civilization, I realized that my general impression is quite fair. The band certainly needs to polish their playing technique, remove all rock-n-roll stuff that makes the music sound a bit unsound (pun intended) and reduce onomatopoeia. In general, if you want to have a good time — listen to Septicopyemia. The band has pretty fair potential, and under some circumstances, it may proudly join the ranks of Russian gore-metal.

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