Review by Alex on January 25, 2021.

I'll never forget the first time hearing the sample off 'Deloy's Ape', I couldn't deny that it was sad and terrifying all the while, strangely hilarious. That feeling when empathy and sympathy have been invaded by the selfishness of amusement met its peak that day, trying to hold in laughter before bursting into tears with it never felt more difficult. What Dipygus did on Deathooze is both commendable and heartless. They give us a legitimate reason for the band's existence with their dark humor, fantastic death metal and the thematic behind it all. That was in 2019, swing a few branches to here and now in which once again the band are able to not just amuse but top their previous entry with their latest installment Bushmeat.

Animal instincts documented via samples and represented by the dingy and brutal surroundings Dipygus creates with their death metal that's not afraid to take a swing at doom and grindcore on a track such as 'The Khumjung Scalp' for example. "I was surprised it took just about 35 minutes to shrink a head", again the samples they borrow just walk a tightrope between generating either reactions of remorse, disgust, disbelief or in some occasions, hilarity. And the instrumentation used to carve into existence these images has the old school tag pinned deep into its flesh.

The tracks are just fucking terrific, the riffs like the ones heard on the instrumenbtal of sorts 'Plasmoidal Mass (Tomb Mold)', sorry I meant (Slime Mold), totally evoke that feeling of 90s era death metal. Morta Skuld in particular comes to mind a lot especially in the doomier parts of Bushmeat and aforementioned track. The drumming has this thick gluey feel that makes the music more impactful not forgetting the skill behind the kit that can go from either semi technical sections to blinding fast grindcore fury. Riffs are very good here, lots of variation too, from sluggish doom metal stretches, to tight semi technical strings and freight-train chugs as heard on title track 'Bushmeat'. And as for vocals, they sound as though a swamp beast of some sort is awakening from its slumber.

I appreciate what Dipygus are doing with their music; many other bands fail to carry on strong after putting out a remarkable release, but Dipygus here have topped their previous work with something more explorative yet still very familiar and adherent to their previous body of work. A gruesome, funny and very much threatening release to other bands within the underground.

And growth continues for Dipygus; from monkey to gorilla.

Rating: 8.8 out of 10

Review by Alex on January 25, 2021.

I'll never forget the first time hearing the sample off 'Deloy's Ape', I couldn't deny that it was sad and terrifying all the while, strangely hilarious. That feeling when empathy and sympathy have been invaded by the selfishness of amusement met its peak that day, trying to hold in laughter before bursting into tears with it never felt more difficult. What Dipygus did on Deathooze is both commendable and heartless. They give us a legitimate reason for the band's existence with their dark humor, fantastic death metal and the thematic behind it all. That was in 2019, swing a few branches to here and now in which once again the band are able to not just amuse but top their previous entry with their latest installment Bushmeat.

Animal instincts documented via samples and represented by the dingy and brutal surroundings Dipygus creates with their death metal that's not afraid to take a swing at doom and grindcore on a track such as 'The Khumjung Scalp' for example. "I was surprised it took just about 35 minutes to shrink a head", again the samples they borrow just walk a tightrope between generating either reactions of remorse, disgust, disbelief or in some occasions, hilarity. And the instrumentation used to carve into existence these images has the old school tag pinned deep into its flesh.

The tracks are just fucking terrific, the riffs like the ones heard on the instrumenbtal of sorts 'Plasmoidal Mass (Tomb Mold)', sorry I meant (Slime Mold), totally evoke that feeling of 90s era death metal. Morta Skuld in particular comes to mind a lot especially in the doomier parts of Bushmeat and aforementioned track. The drumming has this thick gluey feel that makes the music more impactful not forgetting the skill behind the kit that can go from either semi technical sections to blinding fast grindcore fury. Riffs are very good here, lots of variation too, from sluggish doom metal stretches, to tight semi technical strings and freight-train chugs as heard on title track 'Bushmeat'. And as for vocals, they sound as though a swamp beast of some sort is awakening from its slumber.

I appreciate what Dipygus are doing with their music; many other bands fail to carry on strong after putting out a remarkable release, but Dipygus here have topped their previous work with something more explorative yet still very familiar and adherent to their previous body of work. A gruesome, funny and very much threatening release to other bands within the underground.

And growth continues for Dipygus; from monkey to gorilla.

Rating: 8.8 out of 10

Review by Alex on December 18, 2020.

I remember hearing Depravity's 2018 album and being absolutely baffled at the intensity it emitted while using various metal influences from bands traits to genre habits and still managed to emerge with an identity of their own. In retrospect they sounded very assertive and sure about what they were doing with their death metal formula. Apart from being a semi-technical, brutal, Suffocation inspired band, their sound has always stood out to me as being a true representation of brutality when taking into account their consistently quaking resonance. Looking into the current matter that is Depravity's latest album, Grand Malevolence, one can expect more of the same that was on Evil Upheaval but with a more devastating approach and some oddities thrown in on the demolition site.

Its become a more noticeable thing that Depravity's music has become a bit more tighter and as mentioned before, quaking. And a lot of this could be easily attributed to the seismic reach of the vocals used on the record. You take that and bundle it with the crushing drum and bass combo and you've got an album that clobbers its way into the major league of modern, brutal death metal. But don't get too excited all you folks having nothing better to do than populate the metal genre with your new bands; there's more to it than just having a heavy sound, you need some great riffs in between all that meat-beating (no silly not that kind) and some sort of semblance with regards to song connectivity.

Depravity are capable of delivering both in abundance; check out 'Indulging Psychotic Thoughts' and my favorite track off Grand Malevolence, 'Cantankerous Butcher'. These two songs not only pound and plaster your toes to the cold concrete but they toss the salt on your wounds with some insane riffing that makes me wonder if Depravity's guitarists were doing white lines at the time of contriving them. After all it's been a lockdown for what, 7 months now? What better fun during such a depressing time than to contact your local Johnsons and Johnsons supplier for a few ounces of that angelic stuff and write some riffs. The strategy was clear with this album, squash the listeners' brains with boulders and bricks for blast beats then extinguish their beaten remains with glass sharp, shredding that'd slice those remnants to atomic sub-particles.

The intensity grows as you're stomped down the order; 'Castrate the Perpetrators' and 'The Coming of the Hammering' (now that's a track title to frame) keep the middle section of Grand Malevolence interesting by switching up the pace a bit more often with well timed transitions to either slower break's but not at the sacrifice of the mauling pounds at the drum kit as the bass jockeys the bludgeoning waves. Meanwhile, songs down the order like 'Epitome of Extinction' and 'Ghost in the Void' execute the finishing maneuvers with climaxing riffs on the guitar and surgical strokes at the kit. And while you'd be familiar with this sort of thing advancing through the album there are some treats available for the attentive listener, such as the sprinkles of black metal riffing that somewhat adds a contrasting seasoning aura to the atmosphere and outlook of Grand Malevolence.

For some reason also the vocals sound a lot more furious, almost mental in some cases, for instance when those scraping screams tear out from the the bashing growls; don't know what happened in between 2018 and the time of recording the new album, but damn, something's got the vocalist's gears ticking. A bit sinister, selfish and unemphatic of myself, but I hope he brings the same pissed off attitude to the next Depravity album. Tremor like drumming, savage riffing and ransacking yells into the microphone; pretty br00tal to me, Grand Malevolence sounds like the cover art would have you believe.

Rating: 8.7 out of 10

Review by Alex on December 18, 2020.

I remember hearing Depravity's 2018 album and being absolutely baffled at the intensity it emitted while using various metal influences from bands traits to genre habits and still managed to emerge with an identity of their own. In retrospect they sounded very assertive and sure about what they were doing with their death metal formula. Apart from being a semi-technical, brutal, Suffocation inspired band, their sound has always stood out to me as being a true representation of brutality when taking into account their consistently quaking resonance. Looking into the current matter that is Depravity's latest album, Grand Malevolence, one can expect more of the same that was on Evil Upheaval but with a more devastating approach and some oddities thrown in on the demolition site.

Its become a more noticeable thing that Depravity's music has become a bit more tighter and as mentioned before, quaking. And a lot of this could be easily attributed to the seismic reach of the vocals used on the record. You take that and bundle it with the crushing drum and bass combo and you've got an album that clobbers its way into the major league of modern, brutal death metal. But don't get too excited all you folks having nothing better to do than populate the metal genre with your new bands; there's more to it than just having a heavy sound, you need some great riffs in between all that meat-beating (no silly not that kind) and some sort of semblance with regards to song connectivity.

Depravity are capable of delivering both in abundance; check out 'Indulging Psychotic Thoughts' and my favorite track off Grand Malevolence, 'Cantankerous Butcher'. These two songs not only pound and plaster your toes to the cold concrete but they toss the salt on your wounds with some insane riffing that makes me wonder if Depravity's guitarists were doing white lines at the time of contriving them. After all it's been a lockdown for what, 7 months now? What better fun during such a depressing time than to contact your local Johnsons and Johnsons supplier for a few ounces of that angelic stuff and write some riffs. The strategy was clear with this album, squash the listeners' brains with boulders and bricks for blast beats then extinguish their beaten remains with glass sharp, shredding that'd slice those remnants to atomic sub-particles.

The intensity grows as you're stomped down the order; 'Castrate the Perpetrators' and 'The Coming of the Hammering' (now that's a track title to frame) keep the middle section of Grand Malevolence interesting by switching up the pace a bit more often with well timed transitions to either slower break's but not at the sacrifice of the mauling pounds at the drum kit as the bass jockeys the bludgeoning waves. Meanwhile, songs down the order like 'Epitome of Extinction' and 'Ghost in the Void' execute the finishing maneuvers with climaxing riffs on the guitar and surgical strokes at the kit. And while you'd be familiar with this sort of thing advancing through the album there are some treats available for the attentive listener, such as the sprinkles of black metal riffing that somewhat adds a contrasting seasoning aura to the atmosphere and outlook of Grand Malevolence.

For some reason also the vocals sound a lot more furious, almost mental in some cases, for instance when those scraping screams tear out from the the bashing growls; don't know what happened in between 2018 and the time of recording the new album, but damn, something's got the vocalist's gears ticking. A bit sinister, selfish and unemphatic of myself, but I hope he brings the same pissed off attitude to the next Depravity album. Tremor like drumming, savage riffing and ransacking yells into the microphone; pretty br00tal to me, Grand Malevolence sounds like the cover art would have you believe.

Rating: 8.7 out of 10