Review by Adam M on September 17, 2025.

This was a quality album that really upped the stakes for what this band was capable of.  There are deeper elements than on their Morbid Tales release and they show themselves in songs such as “The Usurper”.  There is a dark element to the album which makes it attractive and one of the better thrash releases in the genre.

The musicianship on the work is rather solid with gurgly guitars and pounding drumming.  The singing of Tom G. Warrior is impressive at this early stage and a highlight of the work.  All in all, the musicianship is very solid and shows the maturity of the outfit quite nicely.  Production is reasonable for the time, but nothing to write home about.

In terms of flaws, there is a feeling that later releases by the likes of the band Triptykon would be more sophisticated and this leads to an unsatisfied aura to the album.  It is still very solid and has enough catchy tracks to be quite addictive and worthwhile.  It is not the greatest album the genre has ever produced, but highly interesting.

All in all this was perhaps the greatest album of 1985 and something to be proud of for the band.  They would go on to produce more avant-garde releases in the future.  Still, this is a monument to good song-writing and a very compelling release.  Fans of the band should definitely give it the right amount of time.

Rating: 7.7/10

Review by Sam on February 21, 2026.

Don’t be fooled by the slightly Sabbathian opening riff of 'Praise The Lord (Opium Of The Masses)'. Although the dudes can certainly fuck you up when they play this way, this is not their preferred method of metallic implementation. Dying Fetus thrives in the blast beat/sweep arpeggio realm, but for me, they are most devastating when they slow down and just play straight-ahead heavy metal. Don’t get me wrong, as a drummer, I am continually flabbergasted by the abilities of Kevin Talley and Trey Williams, but arpeggios do absolutely nothing for me. It’s a thing guitarists do just to showboat.

It’s the heavy use of blast beats and the aforementioned guitar technique that I think prevented me from exploring this band’s catalog until recently. Once I swallowed that pill, I discovered that this is one of the best ensembles out there in terms of writing ball-crushing heavy metal riffs. When these riffs are augmented with their drummers’ insane double bass talents, it’s simply breathtaking. Both Talley and Williams can play 64th(!) notes in a half-time feel, and when they do this over simple, caveman riffage, it’s a drummer’s delight to behold.

As for the blast beats, they are tolerable, especially here on Destroy The Opposition because the drum production is analog. To my ear, the blasting is best utilized in tandem with a swarming tremolo riff a la 'Born In Sodom' or 'Pissing In The Mainstream'. This song title, 'Pissing In The Mainstream' would probably be the most succinct way to describe the overall aura of Dying Fetus. If their band name wasn’t enough to qualify as micturition into the cultural melting pot, then the Cyclopean rage of vocalist John Gallagher takes care of that. Another interesting characteristic of the Baltimoreans is their tinge of hardcore influence, which I think is most apparent in the album cover art with the all-caps, emboldened, simplified band logo, complete with Uncle Sam and all the other political innuendo surrounding him. Indeed, the lyrical content of this record is quite politically charged. Here’s a sample from the title track:

“Just ask them one question, and they’ll tell you 15 lies
They’re Judas, Hitler, Stalin, and Brutus all combined”

Dying Fetus has a tendency to overwhelm the listener with all the talent on display, which to some may manifest itself as wankery, but I assure you wankers these guys are not. They’re just using the many tools they have at their disposal to chase what surely must be their aim of being the most brutal band known to man. They’re right up there with Suffocation as far as claiming that crown. But their most memorable moments do not contain mind-boggling technical chops. Except, that is, for the exceptional double bass capabilities.

'Epidemic Of Hate' is a noteworthy track because of the almost rapped gutturals employed by John Gallagher on the verses. This unorthodox approach definitely took me aback on first listen, but it’s kinda cool because you can actually understand him saying “I think we’ve got a problem here,” which is probably the overall mission statement of Destroy The Opposition. The aptly titled 'Justifiable Homicide' concludes the album with an appropriate assault on the senses, culminating in a massive riff underneath which Kevin Talley’s undulating kick drums modulate between mid-tempo 32nd notes to blazing triplets. Talley is the hero on this record, and if you are a fan of analog production and insane drummers that showcase the full spectrum of extreme metal drumming techniques, this will not disappoint.

Rating: 9.5 out of 10