Music
I Can’t Tell If This Video Is Serious Or Not
Extreme death metal band Necrosadist has released a music video for a new track entitled “Embalming Table Sodomy” (we’re already off to a great start here, don’t you think?). The video, directed by Viral Veil Productions’ Nick Larry, features performance footage that is so half-hearted and ridiculous that I have to assume the members were just joking around nonstop. I mean, c’mon! The drummer looks like that one guy out of Super Troopers! And half the time the snare hits don’t match with what’s in the video. Oh, and sweet gas mask. Very evil.
The opening of the video suggests that there might be some sort of narrative but that is quickly eliminated. I guess the band gave a budget of $20 for a hallway tracking shot and then did everything else against a green screen.
The band describes themselves as “Brutal Slam Fucking Death Metal From Cincinnati Ohio”. I know about death metal. I know about Cincinnati, Ohio (been there). But I really, really need to know what “brutal slam fucking” is and how it relates to either death metal or Cincinnati.
I…I just don’t know. Head on down to see for yourself.
“Embalming Table Sodomy” lyrics:
Caustic fumes desecrate the skin as it drips from its form
creating fluid pools beneath this skeleton defleshed.
Noxious scum from the bowels bursts from intestinal
seams and foul obscenities plague my malevolent dreams.
This nightmarish void of necrosis devouring space and time,
We walk upon desolate planes beyond reality’s confines.
A yearning for the horror, a need for the unclean, we are utter plague spreading the disease.
Ripped! Gutted! Throat-fucked!
This grotesque defilement of my body extrapolates perverse dimensions of monolithic vulgarity.
I have been cast before the throne of convulsive remnants in my kingdom of infinite decay.
Beyond the diseased air and twisted shadows wrapped in death,
Beyond the dormant destruction of the universe.
I bask in a realm of horrid masochistic infatuation
subjecting all too sadistic pleasures and pain.
This is the ethereal existence of torment, my putrefied domain.
Drowning in their own blood, intestines used as snorkels
Ventilation is fetid, they breathe in the demeanor of death
Their torso tubes create, a symphony of suffering
Screaming and vomiting bile in a synchronized matter
The slaughter swamp they swim in boils their bodies
Melting in visceral waste, the putrid humans contort
Meat dripping off their bones, marrow floats alone
Conceived reality I distort, seraphic misery I exhort
Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!
It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.
Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.
Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.
“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.
“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”
You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…
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