Oh deary me, Cemetery Lust calls their style of metal “Rape Thrash.” That should tell you all you need to know about these rancid bastards. If it didn’t, this is extremely low rent, low-fi, vaguely blackened crust thrash in the vein of Inferno with copious nods to Whiplash, Autopsy and Sacrofago and it is NOT pretty or PC. At all. If such a thing as a musical cliché warehouse existed, these guys looted the Neanderthal Thrash section of everything that wasn’t nailed down and then nailed down the security guard just to be cvlt. Put another way, if retro thrash is a musical slum (and it is), these dudes are the heartless landlords who turned the heat off on Christmas Eve. I may have whiffed on their Screams of the Violated debut, but Orgies of Abomination is sure making up for it by leaving a large greasy stain on my speakers that won’t come off easily. If you love the olden stylings of Toxic Holocaust, but wish they were much more raw and considerably less talented, your mutant baby just arrived to suckle at the Teat of Metallic Overkill.
Yep, this is a band that paints their musical vision with fecal matter and cheap beer and it shows in every grotesque composition. Gleefully regressive odes to speed like “Mass Grave Orgy” steal many a riff from Slayer, but the overall presentation is clearly third tier quality, like forgotten acts Indestroy and Anvil Bitch (anybody remember “Maggot Infestation“?). “Malice in the Morgue” mixes old Exciter riffs with the Grade E thrash of Destructor for a song so unhinged and hyper, it’s almost a parody of the entire thrash genre and I love it despite my better judgment. Speaking of unhinged, “Cyborg Sex Machine” is a million miles per hour of sex themed trash thrash and staccato shouting I can’t understand. It sounds like an escapee from Whiplash‘s immortal Power and Pain opus and how can I not love that?
Other righteous doses of riot juice include “Tenement” and the poignant “Cum on the Cross;” both of which pack surprisingly good riffs that slap you about the face, neck and buttocks. The only songs that didn’t totally entertain me were the ones that veer into death grind like “Devil’s Grave Disturbance” and “Intent to Molest,” but they aren’t bad and they’re certainly berserk.
The riffs vomited forth by Squid Nasty and Nasty Nate (collectively known as the Nasty Boys) run the gamut from Slayer ripoffs to Whiplash poaching, but they’re so old school and they hammer them so relentlessly that they generally work. Most songs feature one or two real rippers that grab your attention and the solos are so over-the-top and hysterical, they simply need to be heard. The vocals of Evil Andrew (no, seriously) are a mixed bag of grunts, shouts and gurgles, and while I can’t say the man is talented, he surely is committed and probably should remain so for his own good. I had no clue what he was saying much of the time, and considering song titles like “S.T.D. (Sexually Transmitted Death)” and “Malefic Masturbation,” that may be for the best.
Orgies of Abomination works for the same reasons Whiplash‘s Power and Pain and Inferno‘s Utter Hell ended up minor classics. It’s just so frantic, sloppy, soupy and silly, it becomes endearing and makes you like it by sheer force of will. Their utterly mindless delivery and the thickskulled braindeadery of their musical ideas leave you feeling dirty and violated, but amused. If you want a good, thrashy time, leave your I.Q. and dignity at the door and call these guys. Now I need a Silkwood shower.