When dealing with Brutal Death Metal, the things that immediately spring to mind are rough production, wailing of highly distorted guitars, a wall of noise attempting to pulverize the listener with sheer brutality and highly incomprehensible vocal work. I did not expect anything different when receiving the promo of Parasitic Ejaculation’s debut. In this album, they have done many things right and one of those things, was proving all such expectations wrong.
Parasitic Ejaculation is a relatively new (formed in 2011) Slam / Brutal Death Metal band from Santa Cruz, California, USA. Having been around for a couple of years, the band recently released their début full length, titled ‘Rationing The Sacred Human Remains’, through Ghastly Music on 22nd July 2013.
Clocking in at just over 25 minutes, this is not your everyday average Slam Death Metal album. Rather, this is a record which is drowned in moments of pure brilliant song writing. It is a total riff festival, where time after time, insanely well written riffs are unleashed upon the listener’s senses. This is not to say that the album lacks in brutality. It’s quite the opposite, as the riffs are written in such a way that they create an atmosphere of brutality and also bring to the table, gargantuan amounts of slam portions.
It is quite rare to see, or rather hear, every element shine in an album and this album gives the listener a glimpse into this rarity. It is quite impossible, not to notice how every instrument, be it the guitar, the bass, the drums or the vocals, has something unique to offer. For instance, the guitar work by Mike Mostachetti portrays monumental amount of riffs, with the same riff not being repeated for more than four bars in a song. In fact, though none of the songs exceed the 3 and a half minute mark, the duration of the songs feels lengthier, merely because of the amount of riffs packed within those few minutes.
The bass work by Josh Schwartz does a lot more than just complementing the drums. The whole album can be listened to, from start to finish, once or twice just for those infectious bass lines. Specifically during the slam sections, the bass work adds tonnes of heaviness with the sole intent of crushing some bones. And then there is the drumming by Donovan Dettle. With loads of great sounding fills, the drummer shows that he is not there to substitute for a metronome. The vocal work by Jonathan Neel is a deep guttural growl that sounds very grimy and menacing. A good number of variations by the vocalist and appearances of guest vocalist (in three tracks) ensures that band has the rapt attention of the listener.
As is the signature of most Brutal Death Metal bands, samples from movies and TV shows are employed here as well. The amount of samples used are minimum and this makes sure that it does not get monotonous. Though personally not a big fan of clean production, I find the production on this album to be very enjoyable. It becomes necessary to have clean production so that the listener can appreciate the quality song writing featured on this record.
Seeing this as a debut album, it is absolutely flawless. This would please any metalhead, who has even the slightest taste in the brutal side of things. The music itself is very mosh friendly (if such an oxymoron can be employed here). So get ready to nurse a very sore neck after listening to this monster of an album.