Putrid Offal – Live at Hellfest 2017

Putrid Offal – Live at Hellfest 2017
Release Date: 13/11/2020
Running Time: 28:15
Review by Rick Eaglestone

It doesn’t need me to point out the obvious reasons why there hasn’t been much live music year and I know that I’m not the only one who marked up their calendar in 2019, ready for all the festivals this year, only to either cross them off or forget to do that and when the time comes to reveal the next month seeing the reminder of what could’ve been…

Yes, there’s been livestreams, but even then they haven’t been entirely straight forward so when I threw my hat into the pot to join the Ever Metal family I was very pleased indeed to learn the band I had chosen to review have a newly released live album as I had only been playing their latest studio album “Sickness Obsessions” last month. In fact, the latest studio album contains a DVD with the full set of this show.

It is highly fitting that Putrid Offal chose this show as it their home country after all. The album wastes no time starting, it is straight in with the frenzied ‘Livor Mortis’ and the gut wrenching ‘Purulent Cold’.

The lead single from latest album ‘Let There Be Rot’ slices back into 2015 and revisits the track ‘From Plasma To Embalming’.

The absolute highlight for me is hearing ‘Repulsive Corpse’ I love the guitar work on this track it’s been my favourite track of theirs since I first heard it, and nothing has changed.

Skull Pounding alert here for ‘Necrotic Mutilation’ which is followed by shortest track of the album ‘Gurgling Prey’ which has drumming very reminiscent of incredibly early Slayer and both ‘Rotted Flesh’ and ‘Organic Excavation’ have a great death gore throwback feel to them. Finally, the set ends with a short savage attack in the form of ‘Suffering’.

For a live album “Live At Hellfest 2017” is incredibly short but having watched the actual live performance it is the full set, as it was performed. This is a shame as I would’ve liked to hear a few tracks from the early splits, in particular ‘Obscurum Per Obscurius’ and maybe a little more crowd noise/interaction for the real live feel.

1. Livor Mortis
2. Purulent Cold
3. Let There Be Rot
4. From Plasma to Embalming
5. Repulsive Corpse 2:51
6. Necrotic Mutilation
7. Gurgling Prey
8. Rotted Flesh
9. Organic Excavation
10. Suffering

Franck Peiffer – Vocals
Philippe Reinhalter – Guitars
Frédéric Houriez – Bass
Laye Louhenapessy – Drums


Disclaimer: This review is solely the property of Rick Eaglestone and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Concede – Indoctrinate

Concede – Indoctrinate
Petrichor Records
Release Date: 23/06/2020
Running Time: 22:44
Review by Steven Hooke

After a succession of EP’s and splits under the Concede moniker, multi-instrumentalist and project leader Jay Huxtable enlists the talents of End It All frontman Peter Emms for the debut album from the Australian powerviolence troop.

The terms “laid-back” and “relaxed” need not apply here.

“Indoctrinate” is a viperous, angry vortex of punishing pace, bleak nihilism, and a multitude of riffs that would make Scott Hull proud. The album doesn’t even bother with a dedicated intro track of static noise or a spooky man telling you you’re gonna die or something, it’s just a bit of feedback and boom, you’re in. Strap in for nearly 23 minutes of getting your head kicked in.

The album rarely – if ever – allows you time to catch your breath, bounding from one bite-sized burst of intensity to another, with only one song out of the 15 breaking two minutes. In those little blasts though, the one thing that can be consistently identified is the quality of the guitar work on show. Many a grind/powerviolence group come and go and sacrifice creativity and ideas in the name of speed, resulting in a drab mess that’s only exciting for the first two minutes. Cheaper than getting married I suppose…

But dem riffs bound their way through the tortured screams and sodomised snare to add a little depth to the proceedings. First major highlight on the album ‘Through The Teeth’ seems to have taken inspiration from Napalm Death’s ‘Time Waits For No Slave’ whilst ‘Misgiven’ has a definite air of Nails about it, and ‘Bottom Feeder’ doesn’t immediately sound like any particular grind/powerviolence royalty, but it does slap real fucking hard.

On the musical side of things, “Indoctrinate” does hold itself up pretty well. The guitars as mentioned go hard, Emms sounds wickedly marvellous in his delivery and the overall production handles itself pretty damn well. There’s never a moment when a particular layer sounds washed out or too overzealous.

But the biggest thing holding Concede back in these early stages is that they’re already pigeon-holing themselves. That constant barrage of sound with no deferring to a slower pace, experimental idea or even a different drum beat makes the album drag at times even with its short run time. Every song even starts the same with a squeal of feedback.

Taking Nail’s 2016 album “You Will Never Be One Of Us” as an example, on track one, the focus is more on the groove and the vocal hook, track two is the frenetic blast, three is an almost portmanteau of the previous tracks, four is back to the intense blast beast and then five almost becomes a metal song with how much it leans on that riff. With “Indoctrinate”, the only step outside the comfort zone comes right at the very end with final track ‘One With The Earth’, a five minute plus track that is basically Dream Theater compared to the rest of the album. But, with the diversity in the song – slower, groovier pace, and multiple, more elaborate riffs – shows that Concede have the mettle to pull something more substantial off and incorporate it more into future releases.

23 minutes of Concede is as cathartic a release as they come. While some will like the zero-reprieve approach to “Indoctrinate”, others will want that brief pause to dust themselves off and pick up their teeth. But the performances from Emms’ vocals and Huxtable’s guitar and production are not to be sniffed, nor too his lyrical writings. A nice, plump serving of white-hot anger, nihilism and anti-government if you don’t mind.

But Hell, even the bleep test has a rest period.

01. Indoctrinate
02. Through The Teeth
03. Brainwash
04. Burn In Your Own Hell
05. You Ruin Me
06. Proselytize
07. Misgiven
08. No Certainty
09. Influence
10. Baited
11. Deliver
12. Bottom Feeder
13. Conditioned
14. Plagued
15. One With The Earth

Peter Emms – Lead Vocals
Jay Huxtable – All Instruments, Additional Vocals


Disclaimer: This review is solely the property of Steven Hooke and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.



Hi everyone! Welcome to our new EMQ’s interview with Taguatinga, Brazil based Grindcore band, Death Slam. Huge thanks to them for taking part!

What is your name, what do you play, and can you tell us a little bit about the history of the band?

First, I want to thank you for the important space given to the band. Thank you very much. I’m Fellipe CDC and I scream like crazy at Death Slam, a band that was formed on October 4th, 1990 on the corner of the street where I live. Since the first day, our intention remains the same, to make short songs that merge death metal with hardcore and, with it, unite metalheads, punk rock and hardcore fans.

How did you come up with your band name?

Actually, We were organizing the band’s first performance and we didn’t have a name at that time. I suggested that the name of the festival was Death Slam, but the other members liked the name and we ended up using it to ‘christen’ the band.

What Country/Region are you from and what is the Metal/Rock scene like there?

Brazil! We are from a town called Taguatinga, a city near Brasília, the capital of our country. The underground scene has great bands and many lovers of good underground music.

What is your last release? (Album, EP, Single, Video)

There is a music video for the song ‘Mundo de Horrores’. YouTube also has some shows. Our last release has been a while and it was a Split CD with the Grindcore band ROT. We have about 30 songs recorded, and another 30 new songs not yet recorded.

‘Mundo de Horrores’

Who have been your greatest influences?

There are many, come on: Napalm Death, Terrorizer, Extreme Noise Terror, Doom, ROT, Cryptic Slaughter, Benediction, R.D.P., among many other bands. They have been and they still are influences for me.

What first got you into music?

I never learnt how to play anything. I tried to play bass, but it was a disaster. Before Death Slam, I did vocals for the bands Cursed and HCS. However, long before the first band, I edited fanzines. I was a correspondent for United Forces Fanzine and then edited Metal Blood along with my friends Rolldão (Kill Again Records) and Claúdio.

If you could collaborate with a current band or musician who would it be?

One band? Here it is. Napalm Death! With a musician? This person would be Tony Iommi.

If you could play any festival in the world, which would you choose and why?

Certainly, the Obscene Extreme. There is the paradise of noise!

What’s the weirdest gift you have ever received from a fan?

Fan? What the hell is that? I don’t have any fans! (Victor here. Yes, you have many fans). Once a person gave me a sweaty shirt, stinking a lot. I accepted it just to be polite. However, after soaking with water and a lot of soap, I ended up wearing the shirt. I used it so much that it tore all up!

If you had one message for your fans, what would it be?

Two messages: “Where are you?” or “Welcome!”

If you could bring one rock star back from the dead, who would it be?

Just one? Not fair! Tough choice. If it’s just one, it has to be the old Lemmy.

What do you enjoy the most about being a musician? And what do you hate?

I hate it when I have an idea for a song, and I can’t play it. And I like it when people like the music I make. But it’s okay if you don’t like the music too.

If you could change one thing about the music industry, what would it be?

I would put radio and TVs all over the world to play heavy music on their schedules, without the bands being forced to pay for it.

Name one of your all-time favourite albums?

There are many records that are part of my history and my life, but if you have to choose only one will have to be the “Vol. 4” of Black Sabbath, for having been the first one I’ve bought.

What’s better? Vinyl, cassettes, CD’s or downloads?

Vinyl! Without a question about it!

What’s the best gig that you have played to date?

Death Slam was very lucky to have done several very good and unforgettable shows, difficult to choose the best!

If you weren’t a musician, what else would you be doing?

I would continue in music without any doubts in the world, no matter if it is editing fanzines, producing shows/festivals, and doing my radio show, things I do beyond my career as a failed “musician”.

Which five people would you invite to a dinner party?

Iommi, Ozzy, Geezer, Bill Ward and Jello Biafra. I’m afraid they won’t stay so long on earth anymore!

What’s next for the band?

Finish the process of record and release a new CD.

What Social Media/Website links do you use to get your music out to people?

I’m bad with technology, but the people made our channel on YouTube, Bandcamp and also an Instagram. I don’t have any social media and don’t know how they work, but I know they’re extremely important tools for dissemination of our music. Nowadays it has several online radios and also e-zines and we promote the band through these valuable channels as well.


Jaffa Cakes? Are they a cake or a biscuit?

It was supposed to be a cake, but the cook was crazy with LSD, missed the ingredients, left the cake, and ended up turning into a hideous mix of cake and biscuit. Hahahaha

Thank you for your time. Is there anything else that you would like to add?

Thank you for the opportunity and the valuable space. Please continue to encourage underground bands around the world. Take care and, after this pandemic finishes, return to the shows and support the independent bands. Death Slam is: Fellipe CDC (vocals), Adélcio (guitar), Ademir (drums) and Itazil (bass and vocals).

Victor here. Fellipe CDC is a legendary person in the Heavy Metal scene in our city (Brasília-DF). He not only plays in three bands (Death Slam, Terror Revolucionário and Caligo), he promotes all bands and people connected to them, since the 1990’s. He produces a great festival called ‘Headbangers Attack’ that opens space for young bands and famous ones too. He never repeats bands at this fest and all shows or festivals he produces; He offers a good sound, backline for all bands, no matter how famous they are. Punctuality is another positive aspect of his shows.

While local producers compete with each other and just boycott other festivals, Fellipe does the opposite. He spreads the flyers of the shows and he goes to every concert to see the bands, no matter who is producing the concert.

Some old local musicians tell that he carried albums from other bands to exchange in others cities every time he traveled and a few of these actions helped bands to became more famous after signing contracts or scheduling important shows, all thanks to him. Therefore, Mr. CDC has many fans and he is an inspiration, at least for people, like me, that want to do serious work and love this music.

He is a humble person who gives his soul for underground music! Thanks You CDC!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Olivia Neutered John – Gorewhore

Olivia Neutered John – Gorewhore
Blackened Death Records
Release Date: 18/05/2020
Running Time: Fuck knows as Media Player won’t tell me.
(Rick Here – It’s actually 42:15)
Review by Dark Juan
(As if it could be anyone else with a band name as superb as Olivia Neutered John)
Score: 9/10

Good evening, dear hearts. It is I, Dark Juan and I have returned from my sojourns among the tormented and the weak, bringing the gospel of our dread lord Satan to toffs and gentry, to bring you the thoughts and wisdom that only I can provide to you. OK, I’m lying. What I actually am is very drunk and going to write about some music I am listening to after I have recounted a possibly witty (but by no means likely) anecdote about one of my fucknugget dogs, for Sir Zeusington Zeus KCVG, VC, MM, DFC and Bar has tried once again to top himself by eating things that are not food. Having done the full-on dying swan for the forty-eight hours I was at work looking after vulnerable children (Yes, that is my career path. What do you mean I shouldn’t be trusted with vulnerable kids? FUCK YOU CROSSWAYS!! I AM BOTH DILIGENT AND RESPONSIBLE!!) He once more, (after a ridiculously expensive visit to the vet which fucking crippled me financially for the month AGAIN…) made a fucking miraculous recovery after I returned home from work. I mean, it’s not like I don’t have enough stress when I’m at work is it? He is currently laid next to me alternating between snoring and farting. The absolute twat.

In an effort to rid myself of residual dog stress, I am currently really pissing off Mrs. Dark Juan by fucking blasting “Gorewhore” by Olivia Neutered John and cavorting around the room like a… well, like a drunken dickhead to be honest. Judging by the increasingly loud and insistent pounding on the wall from my esteemed new neighbours Chloe and Chris they too are enjoying this record mightily.

Having read many of the words I commit to the ether, you lot out there will be well acquainted with my love of early Carcass, and I am pleased to report that ONJ (Neutered is too difficult a word to spell right now because I brewed some homebrew and I got it wrong and it appears that I have brewed an entirely new kind of alcoholic beverage that robs you of all feeling in your extremities and your face while bringing on cases of excessive verbiage and frankly talking bollocks. It was supposed to be beer. It really isn’t) happily bring back the spirit of those once youthful Scousers with added political nous. Yes, ONJ provide you with feminist goregrind. This is something Dark Juan is behind in a fucking big way, being as I am a feminist through and through.

Imagine “Symphonies Of Sickness” era Carcass with a production job that was done properly as opposed to sounding like the recording rig was composed of RSJs,  yogurt and spiders. There, you now have an idea of the sound of Olivia Neutered John. Everything is well produced except the drums fade in and out of the mix quite noticeably, especially when the tempo increases and the vocals are fast. However, considering ONJ are a one-man band this small detail can be overlooked because Dick “Bastard” Weeks is a metric fuckton more talented than I am. His vocals run the full range from acidic screams to the deepest and most sepulchral grunt, his guitar and bass playing workmanlike and satisfying to all except the most discerning gorehound (personally I love the fact that the guitars are no holds barred pure goregrind slamming) and the drumming rapid and precise. Mr. Bastard also follows the grindcore blueprint of short, murderous blasts of songs with little to no subtlety and this is to his considerable advantage. The songs are pure, unadulterated rage, spitting viciously from your speakers. This is goddamned angry metal designed to do two things – make you think and to take your fucking face off. It’s violent and ugly stuff. Song titles like ‘Anal In The House Of The Lord’ (my hatred for organised religion is well known and utterly uncompromising) and ‘Unanesthetised Gelding With A Brand Name Food Processor’ (hilarious, extremely painful sounding yet disturbingly graphic) leave you with no illusions about the fact that Mr. Bastard is a) a man with serious and potentially lethal personality defects and b) that he agrees with Dark Juan that most men are absolute animals and must be culled.

Disclaimer: NOT ALL MEN ARE ANIMALS AND MUST BE CULLED. This is important. Just most of them. Especially if they wear Burberry, leisurewear or hats in an unacceptable fashion, the shocking tarts. Or are members of the Bullingdon Club. Execute those upper-class motherfuckers without mercy or pity, the pig head fucking wankers. It is your civic duty and Dark Juan expects results, not excuses.

It’s hard to pick highlights to this record, as the songs are concentrated blasts of condensed fury, rarely lasting more than two minutes in the finest traditions of grind and splattercore and neatly referencing a genre sadly lacking in new and exciting talent. Olivia Neutered John are truly exciting to me as they are of the genre that got me into the more extreme forms of metal, that being grindcore. Carcass and Napalm Death are gods to me and Olivia Neutered John are (is? ONJ is a one-man band after all) a splendid and relevant addition to the pantheon of greatness that those two bands are part of.

To summarise then, ONJ are fucking spectacular. Everything good about goregrind has been updated and brought into the 21st century and combined with a political message that frankly every motherfucker should get behind in the name of equality, even if some of the solutions Mr. Bastard sings about might be a teensy-weensy bit too violent and blood-soaked for society at large to accept. Granted the band have a DIY sound that references the punk aesthetic of the 70’s and a slightly dodgy production, but ONJ bring back to me the joy of discovering new levels of extremity in extreme music.

I fucking love Olivia Neutered John. Well done, Mr. Bastard, well done indeed.

The Patented Dark Juan Blood Splat Rating System has been reminded why grindcore is great. 9/10. A splendid record. Especially for its timely and worthy politics as much as the violence and savagery. Super highly recommended.


(WARNING: it’s a grindcore album. This could be extensive with high quality word salad song titles.)

01. Whetting The Tools Of Castration
02. Olivia Neutered John
03. Freelance Rotary Hammer Proctologist (FUCKING OUCH!!!)
04. Pool Of Liquified Paedophiles (Frankly, due to my line of work and having witnessed the real and raw suffering of kids having suffered sexual abuse, this is a concept I am entirely behind and want to be personally responsible for…)
05. Gendercrusher
06. Under The Heel Of Her Holy Highness (Oh, the possibilities…)
07. Stairwell Nonce Bashing (Again, an activity that is both wholesome and has a useful and proactive purpose. I recommend it to all persons who think nonces should be executed…)
08. Stillbornography
09. Pecker Wrecker
10. Death Fetish
11. Queen Of The Rusty Chainsaw (MY LIEGE!!!!)
12. Anal In The House Of The Lord (Come near me in your fucking dress and funny hat and I’m going to rip your bastard nipples off you religious BASTARD!!!)
13. Break Your Neck Bust Your Balls
14. Terminator Of Unlife
15. Brutality Unleashed
16. Cisterhood Of The Jackal
17. Underage Teenage Outrage Rampage (Again something I am on board with…)
18. Exhaustive Ruination Of The Vas Deferens (Hey, fact fans! The Vas Deferens tubes are the means of transporting sperm from the testes to the penis before ejaculation. You’re welcome.)
19. Bootlicker
20. Transdefender
21. Friend Zone Dead Zone
22. Unanesthetised Gelding With A Brand Name Food Processor (A Moulinex would be entirely unacceptable. Only Russell Hobbs will do…)
23. Scrotal Holocaust
24. Gorewhore
25. And The Arms That Embrace Me Are As Gentle As The Broken Necks Of Dead Swans (What the FUCK?!?)
26. John Poison Sons
27. Testosteroni
28. Post Traumatic Pickaxe Perforated Prostate (Alliterative torture. I dig this…)
29. HOPE Machine II
30 The Fragility Of Origami Cranes In A Rainstorm
31. Suffer Age


Dick “Bastard” Weeks – Fucking everything, the talented bastard. There’s no need for it, I tell you. No need.


Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Basement Torture Killings – Lessons In Murder

Basement Torture Killings – Lessons In Murder
Bizarre Leprous Productions
Release Date: 22/05/2020
Running Time: 33.45
Review by Dark Juan

Ah, the sheer joy of murder. That release you get when the first jet of arterial blood sprays your face and then the completion you feel when you watch the light and the terror fade from the eyes of your victim, mainly because they have refused to be turned on to the Left Hand Path and away from their False Prophet and his strange dad in the clouds. The One Who Walks Backwards requires nothing more but adulation and the occasional blood sacrifice, which isn’t too much to ask, is it? Children are a burden anyway. Turn towards where all the cool kids are going and embrace Shaitan and piss off all manner of upstanding, elderly Christian neighbours! If you do it with the prodigious power of Basement Torture Killings played at a similar volume to a Saturn V rocket lifting off then it will be entirely to your credit when you take a trip downstairs and the Horny Old One is assigning you your own personal Hell. Which in my case would be no virgins, No alcohol, endless boy bands and K-Pop (and FUCKING BABYMETAL! WHO THE FUCK THINKS BABYMETAL ARE A GOOD IDEA UNLESS YOU HAVE STRANGE AND DISGUSTING IDEAS ABOUT TINY, PSEUDO TEENAGE JAPANESE GIRLS?!? Oh, wait…) and meat dishes all about the place. Delicious, aromatic viands that I can’t eat because animal flesh does not pass my lips.

Basement Torture Killings (for the rest of this review will be being referred to as BTK because I am fucking lazy. Just realised they share the same initials as good old neighbourhood stalwart and dedicated family man Dennis Rader) hail from that bastion of good taste, manners and politeness known as the UK and already I am a fan simply because of Beryl. Now there’s a lass after my own depraved black heart if there ever was one. An acid growling lady who’s just my type – deranged, homicidal and covered in gore up to the armpits. In fact, so far I love the lot of the demented fuckers – Tarquin is an accomplished death metal guitarist and appears to have three arms, such is the speed of his playing. Dr. Krause clearly has time on his hands after exploratory surgery to hit the bass like a man possessed and The Faceless Killer is clearly an insane mutant with many more limbs than are required for a normal life. All are absolutely batshit crazy and Dark Juan desperately wants them to be his new best friends as we all share similar interests…

The music on this record is classic splattercore, a la Autopsy and early Carcass, complete with the warped sense of humour that runs through every Carcass release. It’s also nearly as brutal as The Berzerker. I said nearly. Nothing can touch the brutality of The Berzerker’s debut record. However, just the thought of a BTK and The Berzerker tour has given me butterflies in my tummy and sent a tumescent explosion of sex wee clear out of the window of Dark Juan Terrace, much to the chagrin of my neighbour Leon and his dog, Shadow. Shadow seems less concerned than Leon. Call the underwear ambulance, Dark Juan has utterly fucked another pair of pants.

Now, you are all no doubt aware that I like a bit of death metal and splattercore because I incessantly bang on about how amazing Carcass are and BTK are most worthy contenders for the throne. Lessons In Murder is a fucking terrific classic DM record. It ticks all the boxes and I even like the slightly ropey production because it lends itself better to the music than the Morrisound clone jobs that most DM bands use. My only real complaints are that the cymbals are too high in the mix and the bass is extremely quiet. I love Beryl’s vocal style, although she is more proficient at the more highly pitched Jeff Walker-esque phrases, but she is a very good DM vocalist and the lyrics are dark as fuck too. We have murder, rape, torture, snuff and all other kinds of things that make me want to show the Christian virgins of the parish just what damnation feels like. The guitar phrasing of a number of the songs are very Cannibal Corpse like but it all still sounds fresh as fuck because it is played with passion, and dare I even say that there are a couple of bits where melody creeps in and adds a whole new dimension to the horror. Otherwise, the use of more crunchy guitar tones than usual for the genre lean the whole aesthetic more towards Carcass than the American classic DM bands like Morbid Angel and Death.

The songs are all short, sharp and utterly lethal blasts. If you want something to drive down a late-night road to, don’t listen to BTK. You’ll be picking up the most unfortunate whores at truck stops and butchering them to the point of not being recognised as a human being. Not good when you are delivering a load of bathroom ceramics to Motherwell. The whole record clocks in at a speedy 33 minutes long and this is a Very Good Thing because death metal should always be the aural equivalent of several sharp and fast stabs to the gut with a serrated knife. Each song starts with a small vignette from serial killer interviews or from educational films about murder before proceeding to remove your face, trample it into the dirt and then stamp on the raw flesh left attached to your skull with fucking big ass hobnailed combat boots. This is death metal with the pretension fucked right off. BTK exist for one reason, and that’s to kill each and every last motherfucker in the room with them, which will harm merchandise sales, but if it makes Beryl happy then I’m down with it.

I can’t pick a standout song because I have been transported back to my happy teenage days of discovering new levels of brutal music and how it made me feel happy when I was dreaming of eviscerating innocent religious folk on their own altars. Basement Torture Killings remind me of why metal is great – the simple happiness of listening to people just like you playing their hearts out and just living it, you know? Every song is crisp and razor sharp and deadly in the extreme. There should be warning signs around it and an exclusion zone. It’s infectious, heavier than a pair of plutonium underpants, faster than an airline asking for a bailout and so much fun it hurts my poor, blackened heart. I love BTK. I really do. A future classic death metal/ grindcore record.

The Patented Dark Juan Blood Splat Rating System has had to temporarily change from Blood Splats to Blood Gallons as splats just don’t seem to cut it right now. It also recommends this record to your attention if you are one of the young, new neophytes to the Protectorate Of The Faith because by God it will have your parents worrying about you and just what you get up to in the churchyard at night, you filthy little perverts. 10/10 for the most fun I have had with my clothes on in ages. Now to get Beryl out of hers…. Be seeing you!

01. Armchair Psycho Or Pure Predator (A literal description of the fans of BTK.)
02. The Three Step Hit Formula (I did a four-step once. That was at the Grand Hotel in Llandudno before it set on fire. I fainted dead away. Then my appendix exploded, and I had to have it out in Gwynedd Hospital. It’s a salutary experience waking up in a foreign country’s hospital with Pobol Y Cwm on the TV and a small, wiry and clearly homosexual nurse with a gold tooth called Dafydd asking whether you are OK… Er, yeah, what the fuck’s going on?)
03. DIY Store Murder Kit
04. Exercising Your Dominance (Dark Juan has no trouble with this.)
05. Erotophonophilia (Lust Murder) (Sexual arousal or gratification contingent on the death of a human being, fact fans! Otherwise known as a normal Saturday night around Halifax. Especially around the back of The Acca…)
06. Public Displays of Aggression (Generally giro day in Aldi when there are only two bottles of white cider left.)
07. Psychoflage
08. Resolving The Body Problem (Just don’t call Dyno-Rod.)
09. The Pen Is Mightier Than Another Splayed Corpse (It is not mightier than the sword, otherwise I’d be spending the rest of my days in chokey.)
10. Objectification (Something Dark Juan DOES NOT do…. No, fuck off. I don’t.)
11. The League Of Extraordinary Killers (I SOOOOOOO hope this is a thing and they are taking applications for membership. People are always on at me to extend my circle of friends.)

Beryl – Horrific Goratory Of Perverse Verse
Tarquin – Hideous Sermon & Manipulator Of Ripped Sinews
Dr. Krause – Low End Bowel Rupture
The Faceless Killer – Beater Of Human Skins



Disclaimer: This review is solely the property of ‘Dark Juan’ and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.




Hi Everyone. Welcome to our new EMQ’s interview with Italian Grindcore band Stench Of Profit! Huge thanks to Vocalist Maurizio for taking part!

What is your name, what do you play and can you tell us a little bit about the history of the band?

Hi I am Maurizio, singer of Stench of Profit. The band was born in 2014 from my and Lorenza’s mind. The band is a side project, (we both have other bands we play with) with the intention to vent rage and insults within the music.

At the beginning it was just the two of us then Giovanni the drummer joined us. In 2015 we released a demo called “21 ways to say fuck” and a song for the “Crash Mandolino 2.0” which is an Italian grind bands compilation. In 2017 we released the split “New Doomsday Orchestration” and now the “Human Discount” EP, released under Lethal Scissor Records.

How did you come up with your band name?

We wanted a name that contained our revulsion for society also because with our lyrics we attack the human being. This got crossed over with the song title of which Lorenza and I are very close to.

What country are you from and what is the Metal/Rock scene like there?

We are from Italy. I am not sure I can answer this. Here in Italy is difficult to make music that is not commercial and trendy. Lately I’ve seen a bit of movement within the death metal, black metal and doom scene.

What is your latest release? (Album, EP, Single or Video)

The “Human Discount” EP which was released under Lethal Scissor Records.

Who have been your greatest influences?

Personally as a singer I could tell you Frank Mullen, Kevin Sharp, Matry Way. These are the voices that shaped my vocal technique although I’ve always tried to have my own imprint without copying anyone’s style and evolving in time. Talking about Stench of Profit I could probably say Terrorizer, Brutal Truth, Regurgitate and Maruta, but it’s quite limiting as I like the whole extreme metal music scene.

What first got you into music?

Bloody hell, I am 40 years old, who could remember? 😀

Probably listening to records from Iron Maiden, Metallica, AC/DC and Sepultura when I was a kid!

If you could collaborate with a current band or musician who would it be?

Talking about Stench of Profit, a split or a live with Maruta would be fucking cool.

If you could play any festival in the world, which would you choose and why?

The Neurotic festival, but sadly it doesn’t exist anymore. It was a great festival according to my taste, I used to run from one stage to the other not to miss a band. Now I would probably say the Death Feast.

What’s the weirdest gift you have ever received from a fan?

Why? Have I got fans???

If you had one message for your fans, what would it be?

Again, have I got fans?

I would probably tell them to be themselves and to stay away from those virtual characters hiding behind PC keyboards that the modern society has created.

If you could bring one Metal/Rock star back from the dead, who would it be?

Layne Stanley!!!! Fucking hell I love his voice. But I’d be curious to hear what Cuck Schuldiner would have written

What do you enjoy the most about being a musician? And what do you hate?

Music for me is emotivity and this is why I said being able to express my true self, the hidden one that doesn’t come out during everyday life.

And on the technical side constantly challenging myself.

I am allowing myself to tell you two things I hate. The first one is being conscious that one day I’ll have to stop doing this, the other one are fake made up things, and there are a lot of those even if it doesn’t look like.

If you could change one thing about the music industry, what would it be?

Copy and paste music formulas? This could be a very big topic

Name one of your all-time favourite albums?

Very difficult question, I listen and have listened to a huge amount of records.
Continuing with the Stench of Profit point of view, “Extreme Conditions Demand Extreme Responses” from Brutal Truth, one of the best Grind records of all time!

What’s best? Vinyl, Cassettes, CD’s or Downloads


What’s the best gig that you have played to date?

With SoP we played at the Death Over Venice festival, we performed all our set list without breaks, it has been a no rest set for us and audience.

If you weren’t a musician, what else would you be doing?

Another very difficult question! I’ve got many passions, I wonder in which one I would have got caught. In the end everything takes is own time I guess.

Which five people would you invite to a dinner party?

Only famous people? Because in this moment I would love to have dinner with my in laws! With them good food and good laughs are always guaranteed.

What’s next for the band?

Our main goal now is to finish the full length which is due to be recorded soon and then we’ll see.

What Social Media/Website links do you use to get your music out to people?

YouTube and Facebook.

Jaffa Cakes? Are they a cake or a biscuit?


Thank you for your time. Is there anything else that you would like to add?

Thank you very much to you, thanks also to Lethal Scissor Records and everyone who helps and supports us.

Follow us on Facebook.

Stay Brutal.


Stench Of Profit


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