Since 1996

   Your Gateway to Music and More from a Christian Perspective
     Slow down as you approach the gate, and have your change ready....
About Us

Album Reviews
Movie Reviews
Concert Reviews
Book Reviews

Top 10
Contact Us

6-Way Sin Decomposition 
Artist: Various
Label: Christ Core/Vomit Bucket
 It makes enough sense, I suppose. In order to convey the depths of hellish abandon from which Christ's substitutionary atonement saves us, some are inspired to create music that akin to said infernal abandonment.
Don't ask me whether the half-dozen goregrind acts whose material comprises 6-Way Sin Decomposition have thought of their artistry in as much theo-musicological justification as I just gave it. Needless to say, it's extreme music (though some might even blanch at calling that) conveying an extreme message...   and most of the time, in extremely garbled vocals. That's par for the course, however in the metal substrata known as goregrind, itself probably a subgenre of a subgenre or thereabouts. Let's see if we can follow it pathologically: hardcore punk-influenced thrash begets death metal, and death metal begats the even punkier, generally more compact grindcore. Add preoccupation with medical textbook terminology and the most unappetizing of bodily functions, and there be goregrind. 

And believe it or not (or should that be "rot"?), there's variety to be heard in this outermost fringe of metalurgical extremity. 

Striking what may be the nearest thing to classic metal within the entities represented here are Vomitorial Corpulence. Unlike some of the one-man projects (did you really think chicks would be making this kind of racket?), this Australian trio manages to churn out hefty guitar tones and a variety of percussive effects on their drums. The vocals, too, pack variety, from bloodcurdling, screechy gargles, to echoed muffles and something resembling a marble-mouthed take on the Cookie Monster-sound alike associated with so much extreme metal. Further kudos to the band for posting all their minimalist, piquant lyrics on their website.

Fellow Auusie entity Engravor largely, perhaps entirely, eschews guitar tones for percussion galore; the sonic aftereffects of the cacophony create something akin to bass as well. And as spartan as the stylistic embellishments are the titles, with all but one being comprised of single words. 

More maximal, in terms of terminology and strangulated, lone-guy guitar/bass/percussion is the domain of Demonic Dismemberment. His vocal attack sounds the least human (more like a vacuum cleaner gone haywire) of the puke-voicings here. DD get bonus points for having the chutzpah to follow " Excremental Human Offal" with "He Died For You And Me." and for perhaps the only use of "spewagly" in a song title of an ostensibly gospel song you're likely to hear this decade.

The other U.S. representative present, Eternal Mystery, distinguishes himself/itself with the deepest "singing" here. Think Darth Vader, only with a case of Tourette's Syndrome that doesn't render him foul-mouthed as much as it does utterly incomprehensible. Some decently shredding six-string squall accompanies some of the more theologically astute lyricism among the Decomposers present. 

I wonder about the German dude responsible for Vomitous Discharge. "Numbers such as "Insalubrious Pus Discharged from the Oral Cavity' and "Sacrificial Splatterfeast at Golgotha Leading to Salvation" were recorded with the best of intentions, and his use of found sound/dialogue clips is among the more impressive of the bands collected here. But to read that he contributed to another grindcore compilation of otherwise porngrind groups, it raises a flag of suspicion or two, yes?

Flactorophia stand out for not only being from Ecuador, writing some of their numbers in Spanish and emitting possibly the mostly consistently pukey vocals among th e six acts, but for having the most berserk drum machine of the lot. And that's saying something, really.

But, per the remark about garbled vocals a few paragraphs back, it's fair to ponder as to the ministerial effectiveness of the music if the vocals can't be understood-and aren't likely to be MEANT to be understood-without aid of a lyrics sheet. Noisy, fun and a dose of Satan's gifts of chaos and cacophony turned on their heads to exalt the Almighty? Sure. But a cogent expression of that exaltation? Not really.

If goregrinders can, however, prick listeners' consciences by their testimonies/interviews, and lyrics as they appear on-line or in CD booklets (which they mostly aren't here, at least in a font that can be seen without using a magnifying glass), there may be more Kingdom use for it than might at first be apparent. 

Jamie Lee Rake 


  Copyright © 1996 - 2009 The Phantom Tollbooth