Liste des groupes Death Metal Pungent Stench Smut Kingdom

The death metal genre started out in the eighties and Pungent Stench formed thirty years ago. So some European fans consider them to be legends. Yet they have only released six full length albums through that course of time, because they took two long breaks. They were exposed to North America by Nuclear Blast in the early two thousands. On their two thousand one release, Master of Moral – Servants of Sin, the musicians worked hard with their performances. The guitar music was very articulate with fast grinding and shifty bass lines provided a dark blunt force. Then their two thousand four album, Ampeauty, was more reliant on fastly played power chords than fancy guitar work. The lyrics were so explicit, that they could surprise just about anyone. Fourteen years later, Smut Kingdom comes in a trifold digipack, with a lot of space taken for the lyrics. The album art depicts one of those eight armed goddesses from Asia holding a torch in each hand. She stands in a chalice of blood and casts a shadow resembling a black widow spider.

El Cochino (Spanish for the filthy) presents himself as an unglamorous and rough character, who is slightly humorous. He has a very masculine and crude manner of hollering, with plenty of profanity and vulgarity. Sometimes he bellows out his lyrics with a forced bass tone and boldly growls forth his lines with authority. The album opens with Aztec Holiday, using a dirty low fi sound in a death ‘n’ roll designed texture. The guitarist plays high note riffs, the bass music grooves with lots of distortion, as the drummer conservatively beats along in this medium tempo. The vocalist snarls with a macho bearing. “Who must die?” “Who and why?” “Who will say goodbye?” As the story is told , the guitarist yields some flashy Hendrix styled riffs. Then the bassist plays descending rhythms with dominant power, that are dark and ugly. “The bleeding head was placed on display.” “All you can eat from the human buffet.”

The fifth song, King of Smut, starts with aesthetic guitar hooks and nasty lyrics. The guitar riffs howl out with a fiendish display of high note time changes and low key bass lines. Then suddenly the music chops with dynamic power from the bassist. The tempo picks up with coarse and ominous shredding, from the stringed musicians. The lyrics are roughly roared out, with a speedy delivery. “Hey bitch, don’t look so murty.” “Because the king of smut likes it down and dirty.” El Cochino plays a down tuned guitar that is highly distorted. There are lots of slicing and dicing melodies, to go along with hard driving and dark grooves. He plays some incredible solos, which come and go with the intensity. The death metal textures can lull you and then unexpectedly shred aggressively.

Gore has been their bassist since two thousand six and also performs the backup vocals. He was a member of Vargsriket in two thousand two. The bass music plays an integral role, with heavy chugging and powerful rhythms. His performances are often played fast, with lots of energy and movement. Sometimes Gore plays groovy melodies and occasionally it sounds more discordant. The eighth track, I Require Death Sentence, begins with fast bass chops that are followed by morbid guitar accentuations. Then the dirty bass chugging is chased by high note guitar licks, with vigorous drum shuffling arrangements. The vocals are ruggedly grumbled out with some controversial lines. Which could possibly be construed as chauvinist, racist and against religious people. “You know that kind of people you just can’t trust.” “Who’s words don’t count, a sign of the must.” The tempo slows down towards the end with guitar solos, which are complemented with ornamental bass plucking rhythms. Then they return to the previous musical scheme, with rough backup vocals. “Backstabber-cheater, last judgment will meet ya.” “Double face-liar, death sentence I require.”

The final number, Planet of the Dead, starts out slower with strong and heavy bass lines. The guitar music cuts in with an elaborate yet gruesome riff. The drummer beats hard and slowly in line with this sluggish tempo. The vocalist hollers with a deep and gruff voice, like a consultant of the dead. “When will these zombies ever disappear.” “It can’t be soon enough for me.” The music slams forth with hard and heavy riffs. Then towards the end, the guitarist plays a long macabre melody. Rector Stench is their same drummer since eighty eight, whose usual name is Alex Wank. He also performed on an EP for Sangue last year. The percussionist pounds along with mixed beat tones and shuffling patterns. He plays fast and vigorous rumbling during the more rapid tempos. There are lots of full bodied drum rolls, in the more dramatic parts.

Their previous album, Ampeauty, had a crisp and rich sound quality with state of the art high fidelity. In contrast, Smut Kingdom has a raw and dirty sound that matches their dirty lyrics. On a couple of songs, the texture is like death ‘n’ roll. There are some blues rock influences, which are promptly followed with brutal outbursts. Occasionally there is the use of spooky keyboard music, for a macabre ambience. It rocks out a bit faster and crazier than Ampeauty did. Overall it’s a dark and ugly death metal album, with fast moving tracks that impress. The musicians worked harder with swift tempos and explosive energy. The guitar work is a bit fancier on Smut Kingdom, but the lyrics were nastier and more humorous on Ampeauty. The attitude is often hostile in many of the alternations. There is a lot of chemistry within this group, which is essential for a three piece band. The instrumentation was more intricate and aesthetic on Master of Moral – Servant of Sin. Smut Kingdom comes in a notch lower than that album and is about as good as Ampeauty.