Brutal Beatings – Volume XIX

This 19th Sick Drummer Magazine – Brutal Beatings Compilation features: Gus Rios and Gruesome from the Relapse Records family, Ken Bedene and Aborted from the Century Media label, James Payne and Hiss From The Moat, newcomer Ryan Hilerio with Necroptic Engorgement, and a few other killer tracks we highly suggest you check out!

Additionally, our new staff interview legend, Jet from Metal Messiah Radio, will be picking random tracks from our compilation for airplay on their station and picking one or two guys from each comp to interview on-air!

Our last compilation featured Gus Rios and Gruesome from the Relapse Records family, Danny Walker and Intronaut from Century Media, Justin DiPinto back with Malevolent Creation, Bob Beaulac and Skinless, also from the Relapse family, Nickolis Parks and Lord Dying, Danny Morris and Maruta, Norwegian Black Metal Masters, Christian Svendsen and Tsjuder from the Season of Mist family, as well as many other crushing tracks from some bands that may be new to you – including Kevin Talley with The Art of Hate.

We would like to thank all the bands for appearing and all associated labels for their efforts.

Be sure to share this on all your pages and thanks for the support!

If you are interested in appearing on our next compilation, please send an email to:

jason [at]


The fertile East Coast death metal scene has poured forth some seriously formidable bands over the last decade, but there are few that can match the sheer visceral power and razor sharp songwriting skills of Marlborough, Massachusetts’ Abnormality. Marrying the ceaseless brutality coming out of New York and New England to the hyper-blasting intensity endemic to Quebecois death metal, the quintet deliver music that is as unrelenting as it is passionate, and with their second full-length, Mechanisms Of Omniscience, they deliver a defiant blow. “The album is total death metal, no bullshit, no fancy shine. This is an album for the blue collar worker who’s killing him or herself to live, and the kid stuck at home who’s listening on headphones,” states bassist Josh Staples. Moreover, tackling real world issues with intelligence and raw emotion, they create music that both moves and matters. “I am interested in the true nature of the world, the power structure and why the world is the way it is. There are many illusions out there, or blatant lies, rewritten history, and I do my own investigations and attempt to see through falsities. I want to know about human nature, how and why people can be cruel to each other, and why there is so much suffering in the world,” states vocalist Mallika Sundaramurthy, who splits lyric writing duties with drummer Jay Blaisdell.”We write about the destruction of humanity, but we are not for the destruction of humanity.”

Formed in 2005, the band drew its members from the ranks of units such as Teratism, Forced Asphyxiation, Goratory and Sexcrement, and they have worked patiently and persistently to build up a grassroots following, maintaining their integrity while steadily expanding beyond their local scene. While initially envisaged as a side project between Sundaramurthy, Blaisdell and guitarist Jeremy Henry, their intent was to write high quality, technical and heavy music, and as this crystallized a desire to bombard audiences grew. In 2010 they dropped their debut EPThe Collective Calm In Mortal Oblivion, which immediately drew attention in the underground, followed by the crushing and critically acclaimed full-length Contaminating The Hive Mind in 2012, cementing their status as one of the heaviest and most dynamic bands in the genre. Importantly, the band have also grown with every release. “Each album has its own feeling and its own variations but remains rooted in the coreAbnormality sound,” Sundaramurthy says. “An album documents where we were at in that time and space, what we were thinking and what inspired us then, including world events, politics, and things in our personal lives. There are some consistent elements throughout the discography, but certainly there is an evolution you can follow if you listen to our music chronologically.”

Embracing their network of fans, they have toured extensively and proved themselves a dominating force no matter what size stage they play on, performing from coast to coast and border to border, as well as racking up festival appearances in the United States, Colombia, and Europe. In 2014 they tore up the continent while on the road with Dehumanized, Malignancy and Beneath, and their appearance at The Netherlands’ Neurotic Deathfest was a highpoint for the band. Disinterested in flash-in-the-pan popularity, the band focused on building momentum organically, their reputation growing both through word of mouth and via the many videos posted on YouTube, including the eerie clip for “Monarch Omega”, which has racked up almost 2 million views. With such a fervent following, the band remain fiercely loyal to their fans, reciprocating the love and devotion shown them. “The people who have been with us and supported us from the beginning, it’s crucial to us,” states Henry. “Contrary to popular belief, being a musician in today’s day and age is a shitty prospect. The sacrifices made are overwhelming at times, but it’s those people offering their support that keep you motivated and moving forward, and believing that what you are doing is worthwhile despite an increasingly materialistic and shallow society.”

While 2016 marks the 11th year of Abnormality’s existence, the savage anger and urgency driving Mechanisms Of Omniscience is the sound of the hungriest of bands, generating an intoxicating energy. With the lineup solidifying with recent addition Sam Kirsch on guitar, the band approached the follow up to Contaminating The Hive Mind with the intent of moving their sound forward, and utilizing the skills of every member of the band has always been important to the Abnormality creative process. “Our newest member, Sam, gave us a new perspective and influence,” adds Henry. “Everyone contributes to the writing process, and it was only natural that someone coming from a different place musically would have an impact on the end result. I think the push and pull from our members’ differing opinions and musical influences lend itself to the musical compositions evolving from song to song and record to record.” This approach ensures that only the strongest emotions are pushed to the surface. Through focusing on individual songs rather than planning out a whole album in advance, it makes for more potent and dynamic songwriting, and by the time they headed into the studio with longtime producer Peter Rutcho, they had ten killer tracks ready to be laid down. “Rutcho has been with us for years now, and that type of familiarity and comfort level cannot be replaced,” says Henry. “He knows all of us in and out, all of our flaws and strengths. He really put his mark on this record as well– there was a lot of sonic production that went into it where his creativity was crucial.” The result of this meeting of minds really does see the band elevated to the proverbial next level. The floodgates open with “Swarm”, a frenzied and contorted sonic assault that destroys everything in its path, and from there on out they don’t let up. Music is rarely uglier or more scathing than that unleashed on “Irreversible”; the grooves and atmospheric textures blended with unrepentant hostility on “Synthetic Pathogenesis” are almost overwhelming, and by the time apocalyptic closer “Consuming Infinity” collapses under its sheer sonic weight, the listener is left feeling brutalized. Still, the music is only part of the picture, and every lyric Sundaramurthy wraps her ferocious roar around is rooted in the ideology of the band. At the core of this is the title track, penned by Blaisdell. “The chorus is ‘The abuse absolute, like a tumor you can’t remove, this cancer spreads to every organ. This prison we live in, mechanisms of omniscience, relying on uniform ignorance’, and the song is about the well established order of control and power in the world,” the drummer explains. “It’s about the people who have the real power and their means and methods of control over us, and how those methods require a level of ignorance on our part in order to be successful. The methods, or mechanisms, exist in many forms. It’s unavoidable and invasive. From the endless wars and atrocities, to the fractional reserve debt slavery, the rigged elections and the criminals who are supposed to represent us, or the blatant spying on everyone and everything by intelligence agencies that are completely out of control. These are just a few of many enormous problems that have grown beyond repair.Mechanisms Of Omniscience is about a monolithic system of control that is so advanced that it not only successfully ensures the same sadistic fucks maintain the power and control they’ve always had, it also does this while convincing everyone else to enjoy their own subjugation, the illusion of being free.” Sundaramurthy concurs with this, and all of the lyrics she writes come from a similarly critical stance, cutting through the lies, and dissecting complex issues without flinching– yet while there are elements of bleakness to this, it is not the whole picture. “My lyrics are rooted in realism, investigation of our reality, spirituality, with a tinge of idealism. I’m curious about where humans came from, where civilization is going, and all the darkness that goes along with those things. I like to look straight into the void of reality, past, present and future, and not shy away from it. Though this may sound nihilistic, I stand for finding and speaking truth, however dreadful it may be. I believe in morality, and in helping the oppressed and voiceless.”

Adding a further dimension to the album’s impact is the artwork, which was also created by Sundaramurthy. While embodying an old school spirit there is something immediate and contemporary about it, encapsulating the violence of the music beyond this image. “I am inspired by old school death metal album covers and also dark fantasy and surrealist artists, such as Zdzisław Beksiński, Wayne Barlowe, and Dan Seagrave, and I went for an abstract approach with the album cover. It is meant to represent the dark emotions and cover some different themes throughout the album songs.”

Armed with the record, and thrilled to have Metal Blade behind them, the band have never been as serious about getting their message out there, as well as ensuring legions of the moshing masses incur whiplash, bloody noses and blown MCLs in the best way possible. While they are understandably proud of the hard work they have put in over the years and the finished product that is Mechanisms Of Omniscience, in many ways they are just getting started. “We would like to keep evolving our brand of aggressive, technical, yet atmospheric death metal into new and unexplored territory,” says Sundaramurthy, but their intentions go much deeper than this, and she makes it clear that the drive and purpose pushing the members of Abnormality has never been more urgent. “The American dream is dead, illusions and fallacies are being exposed; the masses have been sold out to the corporate elite, the planet is being ransacked, and we’re all fucked. We have never been more pissed off and inspired to spread our music and our vision of the brutal realities of our world. The machine that is Abnormality has only gotten stronger and louder over the years. We won’t let up until we leave our mark on the metal scene, and the world.”

Abnormality line-up:

Mallika Sundaramurthy – vocals

Jay Blaisdell – drums

Josh Staples – bass

Sam Kirsch – guitars

Jeremy Henry – guitars

Abnormality online:

Bio by: Dan Slessor

Photos by: Jeremy Saffer


Founded in small Belgian municipality of Beveren in 1995, death metal merchants Aborted went from underground heroes—debut album, The Purity of Perversion , cut right to the proverbial bone—to heralded genre leaders by the time they had released their fifth album (and first for Century Media), Slaughter & Apparatus: A Methodical Overture . Initially inspired by Carcass, Suffocation, Deicide, Morbid Angel, and Slayer, as well as being informed by horror movies like Hellraiser, Re-Animator, and Evil Dead, Aborted’s musical and visual vision was perfectly aligned to death metal’s core axioms. And that still holds true today. “[Our sound] is like a bulldozer ramming down a rollercoaster, smashing a billion bodies without remorse, warning, or regret,”  says vocalist Sven de Caluwé. [We are] death incarnate!”

Such hyperbolic statements are rare in death metal these days, but de Caluwé absolutely means it. Over the course of nine full-lengths—Retrogore is Aborted’s newest—the intimidating frontman has growled, grunted, and roared over blasting, uncompromising death metal, with lyrical topics covering gore, the horrors of religion, pornography, gangrene, serial killers, Cenobites, and more. Aborted is both a deep, gross dive into the fantastically blood-thirsty, but it’s also a direct reflection of humanity.

“I loathe the current state of our society.“  de Caluwé reveals. “This album [Retrogore] has more personal views upon religion and politics than I ever thought I would put on paper for a band, as I hate getting into those matters. We prefer getting into gore-loving fun themes about poo-poo and horror movies, but some things need to be said, of course, in our own very well-aborted drenched sauce!”

Written over the course of 2015 by all members of Aborted, Retrogore is both technically proficient yet sublimely dark. Songs like “Cadaverous Collection”, “Divine Impediment”, “From Beyond (The Grave)”, and the title track feature Aborted’s signature style, with the addition of haunting melodies and oppressive doom motifs upping the sonic ante. And the hooks? Retrogore has more hooks than the entire Hellraiser series combined. “It is darker, more evil sounding,” laughs de Caluwé maniacally. “There is just as much extremity and intensity as The Necrotic Manifesto, but it is a bit more spaced, some parts are more memorable/catchy, some parts are way more over-the-top technical and extreme. Retrogore has the fastest tempos we ever recorded. And it has the typical Aborted sound, just evolved into a darker, more pessimistic, horrendous way.”

If the album title Retrogore implies anything it’s that Aborted are still enthralled by the horror movies they grew up with and were roused by. Whether it’s The Funhouse, The Gate, An American Werewolf in London, Possession, or Tenebre, the sanguine arts are definitely part of Aborted’s odious fabric. Even the incredible Christopher Lovell cover art is a throwback to the 1980s, with references to Nintendo and He-Man. “Retrogore is all about nostalgia towards the good old golden age of horror, the ‘80s,” de Caluwé offers. “So, it’s very heavily inspired by that time period in cinema, as well as some more current political and religious events that have seeped their way into my thoughts.”

For Retrogore, the Belgians decided to move away from Hansen Studios—where they recorded Global Flatline and The Necrotic Manifesto, respectively—to hit up Kohlekeller Studios with producer Kristian Kohlmannslehner. The studio previously housed death metallers Benighted, gothic metallers Crematory, and heavy metallers Powerwolf, but was primed for Aborted as the group had recently exited with the Termination Redux  EP in-hand. “We recorded for roughly 22 days,” remembers de Caluwé. Give or take a few. [Also], no late night kebabs were involved. We cooked for ourselves mostly.”

Comparing the recording of Retrogore to The Purity of Perversion and the pivotal Engineering the Dead has its pitfalls—technologically speaking—but every aspect of putting and album together and recording it has changed. Mostly for the better, according to the Belgian.

“I cannot emphasize it enough,” de Caluwé huffs. “Vastly. There was no recording stuff at home then. There was practice 2-4 times a week to try to hash out songs that way, which was also great because you immediately knew the songs would work live. Now, it’s a lot easier to plan out your ideas within the area of knowing what you can play. However, you have to actually play it as a band to know if the songs will transcend on a stage or not. A mistake many bands make.”

If 2015 was Aborted’s finest year to date—and their 20th Anniversary—then 2016 is poised to take Aborted to new heights. The new album, Retrogore, is an absolute rager, an unparalleled tour de force heretofore unseen in the group’s oeuvre. It’s a massive step forward. With tracks like “Whoremageddon”, “Termination Redux”, and the album’s incredible capper “In Avernus”, Retrogore is death metal for a new age, fashioned in hate and forged with carnage in mind for audiences new and old.

Aborted Line-Up:

Sven De Caluwe: Gurgloroth

Mendel Bij De Leij: Flesh Upon The Razor Wire

JB van der Wal: Nocturnal Pulse

Ken Bedene: Hymen Blaster

Ian Jelekis: Immaculate Resection

Aborted online:

Discography (only studio albums):

The Purity Of Perversion (1999)

Engineering The Dead (2001)

Goremageddon (The Saw And The Carnage Done) (2003)

The Archaic Abbatoir (2005)

Slaughter & Apparatus: A Methodical Overture (2007)

Strychnine.213 (2008)

Global Flatline (2012)

The Necrotic Manifesto (2014)

Retrogore (2016)


Manchester 2007, in a scene plagued by throwaway metalcore acts, hardcore bands more concerned about their aesthetics and chasing management deals than writing a good song, BROKEN TEETH HC was born.

Setting out to do a band more in touch with the frustration and aggression that people deal with in everyday life, something more real and relatable to the three founding members of what would become a force to be reckoned with in the worldwide hardcore scene.

After years of hard work for the band, playing every show they were offered up and down the country and heading to mainland Europe for tours/weekenders/festivals whenever the opportunity presented itself, it soon paid off and they were soon being hand-picked by overseas acts such as TERROR, SICK OF IT ALL and TRAPPED UNDER ICE (to name but a few) as touring partners and the name BROKEN TEETH HC was making its stamp on the hardcore scene more and more with each tour.

Between such a hectic gigging schedule came the time to write and release three more 7” EPs, 2009’s »Self-Titled« (Power Negi), 2010’s »The Seeker« (Purgatory Records), 2012’s »Aint No Rest For The Wicked« (Purgatory Records) as well as 2014’s split 7” with THE MONGOLOIDS (Neutral Words Records/6131 Records) from New Jersey, USA, giving them the exposure to the American scene that might not have heard the name BROKEN TEETH HC before.

Following 2015’s spot on the Persistence Tour in January, an appearance at United Blood Festival in Richmond, USA in March and (probably the bands biggest show to date) Hellfest in France in the summer, they locked themselves away to finally get started on a long-awaited LP. After years of members changes the three founding members had finally found a concrete line-up in old friends from the scene Nial (bass) and Matt (guitar) and were finally ready to begin work on »At Peace Amongst Chaos«.

Along with producer Nick Jett (TERROR) they set out to lay down ten tracks of pure aggression and hatred towards modern society.

With Nuclear Blast Records at the helm of putting out this destroyer of a record, the stage is set for BROKEN TEETH HC to take their heavyweight sound to a whole new level.

They only go from strength to strength so make sure to catch them in 2016 and check out »At Peace Amongst Chaos«.

Band Line-Up:

Dale Graham – vocals

Adam Kelly – drums

Dave Egan – guitars

Matt Weston – guitars

Nial Moran – bass

Band Links:


Multi-state death metal project GRUESOME was born out of guitarist/vocalist Matt Harvey and drummer Gus Rios’ mutual involvement with the Death To All Tour,  (Harvey served as frontman for the original mini-tour and Rios both performed “Baptized in Blood” and worked with Death To All drummer Sean Reinert on the following US tour where Exhumed filled in as support). After discussing and discarding the idea of putting together another incarnation of Death To All to focus exclusively on the first two albums, Harvey half-jokingly suggested that the pair writes their own songs in intentional homage to Death. It wasn’t long before the idea gained traction, and the band soon had five tracks written. With Harvey writing in California, Rios recruited Possessed guitarist Daniel Gonzalez and Derketa bassist Robin Mazen to record the material in Florida, while Harvey tracked his vocals on the West Coast.

GRUESOME released a pair of single-song demos in 2014, and was subsequently signed by Relapse Records in June of that year, with a full-length release (recorded in Florida, of course) planned for early the next year. The result of those recordings would become the band’s debut full-length Savage Land, a truly gruesome slab of first wave styled death metal released in April 2015. It’s clear from the song quality on Savage Land that GRUESOME is humbly determined to keep Death’s classic sound alive as faithfully as possible, and the critical reception for Savage Land has reflected the band’s dedication. Metal Injection called Savage Land “the advanced, dripping-rot-from-the-corners-of-a-coffin, putrid, vile death metal throwback that you’ve been waiting for,” while Exclaim declared that “The enthusiasm alone on Savage Land is awe-inspiring.”

With an all-star lineup and unmatched songwriting skills, GRUESOME is willing and able to propel the historical sentiment and sincerity of Death’s spirit into the present.


Daniel Gonzalez – Guitar

Matt Harvey – Guitar, vocals

Robin Mazen – Bass

Gus Rios – Drums



Hiss From The Moat are a death/black metal band formed in 2006 by James Payne (ex-Hour of Penance and Vital Remains), Carlo Cremascoli (ex Tasters), Giacomo Poli (ex Stigma – currently Doomsayer). After writing and recording the first EP “The Carved Flesh Message” the band starts playing shows as headliners and main support for bands such as Skeletonwitch, The Black Dahlia Murder, Psycroptic and also playing shows and festivals around Europe (France, Belgium, Germany). In 2010 the band stops playing live shows and some member will join other bands. In 2012 the band gets back in the studio to write their first album.

The band comes out in October 2013 with the first full length called “Misanthropy” for Nuclear Blast Records and Lacerated Enemy Records; the album includes guests from Fleshgod Apocalypse and The Black Dahlia Murder. In 2014 Gabriel Dubko (Implore) joins the band as a frontman and the band starts working on new material. In 2015 the band slows down after James joins Vital Remains and moves to the USA. In 2016 James quits Vital Remains to fully dedicate on the new Hiss From The Moat material and the band starts rehearsing to prepare a full live show and announce a new album in the making.

Band Line-Up:

Gabriel Dubko – Vocals

James Payne – Drums

Carlo Cremascoli – Bass

Giacomo Poli – Guitar

Band Links:






Hailing from New York’s Hudson Valley, Necroptic Engorgement is a 3 piece brutal death metal outfit, drawing influence from various acts including Dying Fetus, Suffocation and a band favorite, Cannibal Corpse. Originally started as a studio project in 2010, Necroptic Engorgement quickly recruited a full lineup, including Will Escolano, Reggie Torres, David Gapay and Shane Lake. Due to personal issues, Shane departed from the band after their 1st live performance, followed by Reggie’s resignation shortly after the release of the band’s debut EP “Transmogrified”.

Since 2012 Necroptic Engorgement has remained a 3 piece act. In 2013, the band parted ways with their original drummer, David Gapay. Shortly thereafter, Ryan Hilerio was recruited to fill the position behind the kit. With this new and redefined lineup, the rest simply fell into place. No strangers to the underground metal scene, Necroptic Engorgement continue to play as many shows as possible in support of new music. The band’s sound is derived from a dark and depraved concept, but with a comical, tongue-in-cheek touch. In Early 2016 Necroptic Engorgement signed a record contract with Manifest Records.

Necroptic Engorgement is:

Mike Ganly: Vocals/guitar

Will Escolano: Bass guitar/vocals

Ryan Hilerio: Drums



NO RAZA  is a  death metal  band,  formed in  1997 in the town of Bello – Antioquia (Colombia – South America).

Its ideology is based on social and political issues that make us reflect, with great technique and characteristic rhythms evince the pain of a sick world that demands justice and peace, to those who bring us under a power snatched from our hands.

It’s amazing staging recreates the desolation of a world at war and the disposition to struggle of those who guard the truth to defend our ancestral cultures.

NO RAZA has shared the stage with world known artists and has participated in major festivals.

With some international tours “Misantropia Mexico Tour 2013” , “When Chaos Reigns North American Tour 2014”, and “Blood Infection México Tour 2016” also NO RAZA has participated in the last version of 70000Tons Of Metal, The World’s Biggest Heavy Metal Cruise representing the South American Death Metal, in July will be playing in the biggest south American open air festival called Rock al Parque with some bands like Sepultura, Napalm Death, Decapitated, Aborted, The Black Dahlia Murder, etc.

The latest album is called  “When Chaos Reigns” it was mixed and mastered by Chris Harris “Zeuss” who has worked with important artists such as Soulfly, Rob Zombie, Six Feet Under, Kataklysm and many others. This album is listed as one of the most important albums in South America and it was edited in USA, Russia, Spain, Chile, Colombia.

Through the years it has become an icon for the South American Death Metal and one of the bands with the most international projection.


When Chaos Reigns (Full-Length 2014) – Released in USA, Chile, Colombia, Moscow, España.

Misantropía (Full-Length 2012)

La Era de la Nada (Live Demo 2007)

Del Poder a la Muerte (Full-Length 2004)

Extorsión (Demo Casete 2000)


– Mexican Metal Invasion Chapter 4 (2015)

– Patria Extrema Vol 1 & 2 (2014 – 2015)

– Masacrando El Imperio Del Terror (Masacre Tribute) (2011)

– Chainsaw Magazine (lll Especial Bandas Colombianas) (2011)

Official Viodeos:

Corderos al Abismo (2015) –

Evil´s Seed (2014) –

NO RAZA (Live festival Altavoz 2012) –

NO RAZA – Contaminated Roots (70000Tons of Metal) –

Ríos de Sangre (2012) –

Lloverá Sangre En El Barro (2011) –

Tierra Desconocida (2003) –

Esclavos Por Indios (2003) –


Juan Guillermo Cano (Vocals-Guitar)

Jairo Hernán Gómez (Drums)

Mike Spillane (Bass)

Camilo Sánchez (lead guitar)

Band Links:

Facebook: NO RAZA

Youtube: NoRazaOfficial



Omnifariam was formed in the summer of 2010 by Gabriel and Norberto Muñoz, Juan Barroso, and Jorge Hernández. Soon afterward, the band made an impact by sharing the stage with Dying Fetus and Suffocation. Later on, in 2012, Juan Barroso left the band due to creative differences and Eric Martínez took his place. It was on that year that Omnifariam recorded a two song demo. During 2013, the band continued to play shows in Puerto Rico and shared the stage with Shadows Fall. In that year, the band also recorded their single, “Scarred and Blinded”. The band went on a hiatus due to work obligations of the band members. In 2015, after Norberto left the band due to work obligations, the band got back together again with Felix Vega replacing Norberto and Jean Carlos Maldonado as lead guitar. The band started writing new songs and got in the studio to record their first EP titled, “Vitiate”, which was released on February 28th 2016. Jean Carlos Maldonado had to leave the band due to personal reasons and was replaced by Miguel Medina. The current lineup consists of Gabriel Muñoz (vocals), Eric Martínez (guitars), Miguel Medina (guitars), Félix Vega (drums), and Jorge Hernández (bass).

Band Links: