Sound — 9
Muhammed Suimez is a Turkish-German guitar prodigy from Karlsruhe, Germany. This is his project, dates back to year 1999. The one-word description for this album can vary from "gruesome" to "awesome", both good and wisely picked words to tell the first impression of any death metal fan. If we want to go further to the roots of these adjectives, we may see that every single detail about the background of this modern metal monolith contributes positively to the impression of the listener. The most prominent of these facts is that every instrument heard in this record is played by Muhammed himself. All guitars, basses(except few tracks that were played by a former member and a guest guitarist) and drum programming is carried out by the man. The fact that the complex riff structure placed on the odd time signatures(characteristics of technical death metal) have emerged from a Muhammed 18 years old(around year 1993) is what makes this work even more beautiful and respectable. To talk about the guitar work: This is Death Metal. In this genre, there are no limits to what dedicated axe bearers can make, but Muhammed takes these limits even further. Heavily influenced by Yngwie Malmsteen in his youth, Muhammed wrote flawlessly precise and creative guitar solos(played with disturbingly perfect synchronization) on maybe the most insane time signatures/rhythms. Being a self-taught player adds even more to his style hallmarked by techniques such as sweep-picking and two-handed tapping. The only thing that can be called as a flaw is the poor sound of drum machine in the original release I have, which is later removed by real drum tracks by drummer Hannes Grossmann in the 2004 re-issue.
Lyrics — 10
When you have a look at the lyrics, you can easily see that Muhammed is heavily influenced by early Carcass records such as Symphonies of Sickness in terms of lyric writing. Lyrics are gory and dark, and even hideous(as my father calls it); the perfect fit for the music genre. Muhammed himself stated in an interview that the listener should not stick with the lyrics for long. Among the included subject matter there are medicine(mainly pathology, check out Bill Steer's med schoool influenced lyrics for Carcass and see the astounding resemblance), dismantling a dead baby(Mutilate the Stillborn) and even some Biblical content(Extreme Unction). My favourite off this record is Extreme Unction where Muhammed displays his vocal talent at best. Deep guttural vocals have always been the first choice of Death Metal and among the pioneers of this style we can count Chris Barnes and Mark Greenway, but singing in low guttural tone and playing insanely complex riffs at the same time is a completely different thing. After all, Muhammed's vocals are perfect within the music and through the obscene lyrics.
Overall Impression — 10
As one of the strongest releases of modern metal in recent history, Onset of Putrefaction(and yes, it is Putrefaction) is highly influencing and memorable. My favourite picks off this album would be: 01. Extreme Unction: Key features are the bass sweep entering, usage of guttural vocals and the trade-off solo with the guest guitarist Bjrn Voellmer. 02. Foul Body Autopsy: Amazing thing is the fast sweep-picked arpeggios concluded with a harmonized legato section in the middle of the song. Good luck working your ass out to play that part. 03. Fermented Offal Discharge: Tempting thing is the 4 minutes 42 seconds of exceedingly complex riff arranging and the classic influenced solo. Not one lapse. As I may have said before, this album is a rather original and creative release, compared to some of those Atheist wannabes. The guitar work may throw cold water on your dreams of becoming a new age shredder, but it may also impress you in creative manner. It also may lead to tuning changes(in this case, one step down; DGCFAD) if you are a guitarist craving for Necrophagist practice. A piece that shall be amongst the favourite of any metal fan. Enjoy every second!