Necrotic Mutation – Sepulchre of the Sufferingi
Release :
1993-05-13
When I started
looking at band lyrics for these posts, the primary intent was to
decode meanings and see what I could derive from the exercise. It
seemed like I have always been drawn towards certain bands because of
their texts, but I could not quite explain exactly what those texts
had in common, if anything. I could not quite put my finger on a
particular way of writing that would get my attention. For example, I
knew that I favored punk and hardcore, as they were the genres that
spoke most to me, but my interests being spread all over the spectrum
made it a bit confusing. If punk and hardcore could have a claim at
trying to change the world, it could not be solely through sound.
Political ideas would probably fall onto deaf ears if not
communicated through exact words and concise structure. It then
occured to me that those genres have had a strong impact on me,
whereas other genres would simply be consumed as entertainment. If I
were to explore the elements that appeal to me, or those I find to be
relatable, my sampling should at the very least include other styles,
for the sake of comparison. Otherwise, any analysis would be biased
and incomplete. With that in mind, I thought I might turn my
attention to death metal.
I’ve always liked
Sepulchre of the Suffering, from the moment I first played that tape,
back in the nineties. I had bought it at Musique Migneault and
something made it an instant classic, to me, although I cannot say I
memorized any of the lyrics at all. So, what is it about this tape?
And what about its lyrics?
Rectal
Extraction of Maggot Colony
Disturbance
of the innards
Feasting
on the organs
Far
advanced rotting
Internal
stuff decaying
Your
corpse is feeding maggots
On
flesh they get hot
Devouring
your insides
All
the stiff, lost is shit
Trying
to get her off your body
Drop
your logs including the colony
You’re
digging in your chest
Lacerate
your flesh
Rectal
exhumation of anal excrement
Tearing
off your skin
Torn
limb from limb
Rectal
exctraction of maggot colony
Suspended
in the air
Meat
hook up the ass
Watching
maggot
Devouring
inside
Exhumation…
Of
anal excrement
Rectal
infection
Anal
corruption
Chest
cavities melting free
Drop
your bones you will see
Chopping
your member with my saw
Spewing
you as bacteria grows
Rectal
extraction of maggot colony
Chest
Cavities
Melting
free
Drop
your bones you will see
Chopping
your member with my saw
Spewing
you as bacteria grows
Rectal
extraction of maggot colony
You
can almost smell it, in the air, as the song plays. The epitomy of
irony, too, as discussions about fecies and gases bore me to death.
The subject does not humor me one bit. It cannot possibly compare to
hardcore or punk lyrics in terms of generating interest, in my own
personal opinion. However, bringing that up would be beside the
point. The idea is not to make a contest of favorites. The exercize
is rather to identify the elements that make a music I already am
drawn to so attractive.
The
situation described could be attributed to the narrator, as they
claim ‘your corpse is feeding maggots’ and ‘devouring your
insides’. The second person singular is also present in phrases
such as ‘trying to get her off your body’, ‘drop your logs’,
‘digging in your chest’, ‘lacerate your flesh’, ‘tearing
off your skin’. It could be similar to one person describing the
state of their health by evoking a picture. However, it could also be
that they are describing someone else and the infestation is
external. That much becomes more obvious through the lines ‘drop
your bones you will see / chopping your member with my saw / spewing
you as bacteria grows’. This precise point marks a turn in the
tone, through reference to what is less likely to be a personal
experience and more likely to be expressing an intent. The succession
of ‘your’ and ‘my’ clearly establishes a distinction.
The
portrait, therefore, is of a person struggling with a maggot
infestation in their digestive system. Perhaps a case of constipation
gone terribly wrong. An hypothesis could be that, over an extremely
prolonged period of time, the digested items transformed into fecal
matter and would spawn maggots. If not addressed properly and
dilligently, it may turn into a colony expanding to a point where the
fecies do not provide sufficient nourishment to maintain growth. The
parasites would have to turn to a secondary source, which would be
the person’s body. The suggestion made by the narrator would be to
simply ‘drop your logs’, as one drops their buffs. This may hint
at the writer’s profession and a potential career as a health
professional.
The
manner in which the solution is executed appears to suggest
otherwise, as it gives the impression that the results will cause
more harm than good. ‘Digging in your chest’ would hardly be the
phrasing if one were trying to convey the image of a regular trip to
the bathroom. Neither is the laceration of your flesh. Both suggest a
more graphic process. As there are no mentions of surgical
instruments, it is possible that the extraction is performed with
bare hands, right through the subject’s pectoral region. One
element of contradiction surfaces, as the lines are followed by the
mention of one ‘rectal exhumation of anal excrements’, which
would imply that the location of the operation is either occuring at
another part of the body, or that it is occuring in two places,
simultaneously. This allows one to wonder what the best position
would be for the subject to receive such an intervention. This point
is answered in the subsequent lines ‘suspended in the air /
meathook up the ass’.
The
seriousness of the operation cannot be undestimated, as it is unclear
whether or not the subject will survive. Melted chest cavities, bones
being dropped, chopped members, and one being spewed hint towards a
cause of death and the method used to dispose of a body. What started
as an honest attempt at a positive solution may have concluded in an
unfortunate accident.
According
to the National Library of Medicine and a 2021 case report
publishedii,
it is possible that Myiasis, a certain skin condition, may result in
maggot colonies in the colon area. The potential for such occurrences
would be increased in tropical regions. For identification of the
subject, one may therefore direct their search to people known to
subscribe to these parameters. The reason behind a french-canadian
band’s concern for such conditions most frequently heard of around
Nepal are unclear. Gale Academic reports one case of ‘complete
rectal prolapse with extensive maggot infestation’iii
that may offer more similarities to the case at hand, as the symptoms
associated with such conditions are described as ‘pain, incomplete
evacuation, bloody or mucous rectal discharge, and fecal incontinence
or constipation’. Such a list evokes a certain familiarity to the
situation depicted in Rectal Extraction of Maggot Colony.
Sepulchre
of the Suffering
In
the depth of darkness
Generation
from the past
Impaled
humans on poles
In
the bottom of a gully
Stench
of shit, nauseating stiff of rotting corpses
Second
step after life brings him
In
the fields of no return
After
four days in there
I’m
forced to consume
The
rest of the dry carcasses
On
the threshold of decay
Cannibalism
instinct
On
this carrion
My
goal is to conquer
The
exit of the field
My
body is entombed
Natural
sepulchre
Lost
where nobody can go
Nobody
can leave
Turning
insane
Trapped
for all my life
What
a gory lot
Eating
old remains
Leaving
the subject of medicine, Sepulchre of the Suffering directs our
attention to the sphere or archeology, describing the setting of a
historical site, forgotten in time, located in a ravine formed
through erosion. In order to accomodate a certain quantity of ‘humans
on poles’ the site would have to be of considerable propotions. The
presence of the ‘stench of shit’ as well as the ‘nauseating
stiff of rotting corpses’ suggest the area is likely enclosed, as
the odour would otherwise suggest the events leading to the victims’
demise to be recent. Any air circulation would also evacuate the
odour. The allusion to ‘generation from the past’ alludes to a
longer distance in time.
If the
events resulting in the formation of a site such as described were
closer to one worthy of the historical title, those described in
these lyrics are current, as the narrator claims to be currently
captive of it. Most likely an accident, as they had not brought
enough provisions to last over four days, imposing cannibalism as the
only solution. One cannot help but wonder at the identity of the
protagonist and how they ended up in such a tight spot. Possibly as a
side effect of hunger or malnourishment, as may be expected from
feeding on corpses as though it were jerky, projects of conquest are
considered.
According
to the narrator, when some people die, their souls go to ‘the
fields of no return’. It would happen at the ‘second step after
life’. Their physical form remains in the gully, but their spirit
separates and goes to said fields. Both locations are established as
separate as their descriptions are presented in two parts and the
likelihood of the bodies being impaled post-morten is faint, at best.
The logistics that would involve appear less than optimal as one
would have to perform the act, transport either in bulk or one by one
all the cadavers, bring tools such as a pulley system or a winch in
order to hoist them in the air for impalement, and then let gravity
work. Therefore, the mention that the second step after life is
bringing the victims to the fields in question implies a movement
taking place on a plane other than the physical one. Supporting this
claim is the phrase ‘lost where nobody can go’. How could one set
up such a landscape if it were impossible for anyone to get to these
particular parts.
In
this perspective, the objective of conquering the exit of the field
places the author inbetween both planes, suggesting they are
experiencing their last moments, succombing to insanity. The body is
set to remain ‘entombed’ in a ‘natural sepulchre’ once the
person extinguishes. Until that moment, the main character will
sustain themselves on ‘old remains’ while they reflect on their
situation, prisoner of some purgatory.
Persistence
of Agony
Losing
control of my pulse
My
blood has stopped running
I
consider myself
As
dead and unconscious
Dig
up my grave
Don’t
know what’s happening
Can’t
control my fear
And
now my veins are empty
My
soul still living
Feeling
the same things
Feeling
putrefaction
Taking
it’s place
Renal
infection
Cardiac
organs
Disintegration
And
fermentation
Why
am I still conscious?
Of my
pain
Of my
body
Rotting
slowly
Melt…
Dig
up my grave
Don’t
know what’s happening
Can’t
control my fear
And
now my veins are empty
Renal
infection
Cardiac
organs
Disintegration
And
fermentation
The
circumstances are once more critical, as the narrator establishes
themselves ‘as dead’ and in a state of panic. They are not
completely gone, however, as the presence of a faint pulse is
acknowledged. The audience is invited to bear witness to one’s
attempt at digging out of their own grave. Pulse is out of control,
circulation has stopped the flow of fluid through the veins,
overwhelming fear is assailing the mind, and time foreshadows the
inevitable consequence.
Other
than the use of the verb dig, very few details are offered in terms
of establishing exactly what type of grave the hero finds themselves
in. Digging evokes images of somewhere underground, as one rarely
digs through water or concrete. It is possible that they have been
buried in a pit. If they had been buried in a coffin, in the ground,
they would have to escape the case before attempting to dig
themselves out. There are no mention of any such devices.
The
emphasis on the mental state and feelings experienced as a
consequence of the realization that they have been buried alive,
directs the reader’s attention to a certain humanity. The thoughts
of ‘renal infection’, ‘cardiac organs’, ‘disintegration’,
‘fermentation’ suggest a growing awareness of the frail nature of
the human body in the subject.
One of
the perplexing, and perhaps alarming, qualities of such a collection
of stories comes through the idea that in both Sepulchre of the
Suffering and Persistence of Agony, the characters appear clueless as
to how they ended up in their situations. This absence of explanation
creates a form of disconnect that may be necessary to distance an
occurrence such as described from our reality. Making the story
overtly realistic might hinder its interpretation or the way an
audience might relate to it. The succession of stories presenting a
similarity in the reliance on a similar theme almost alludes to a
seriality.
Although
the tone may appear as a bit fatalist, the author shows persistence
through the claim that they are attempting to escape. However, the
increasing level of panic established through the enumeration of
thoughts occuring in the narrator’s mind is combined to their
consideration that they are ‘unconscious’. This potentially
suggests that they may be dreaming, as so many events taking place at
once are inconsistent with the qualities frequently associated with a
state of unconsciousness.
Organic
Stench
Suspended
in my basement
A few
children are exposed
Their
carcasses full of grime
Their
organs I’ll consume
Concealed
anthropometry
Humans
stanate flows free
Dissecting
is my orgasm
Embalming
is my art
Jugular
arteries chopped
Vicious
pus gush bleed
Blistered
skin are what I boast
Enveloped
by dead tissues
Meat
hook, sodomized kids
Baked,
roasted, I eat them
Eating
on their carrions
Dealing
out with parasites
Corpses
gas, biles and sweat
Brains
encrusted with worms
Body
organs I consume
Till
necrolories and worms eat
Corpses
in bacterial decay
Perforated
sternum
Chopped
lumbar vertebrae
Broken
apophysis
Contracted
rigor mortis
Immortal
pain
Eating
on their carrions
Dealing
out with parasites
Corpses
gas, biles and sweat
Brains
encrusted with worms
If the
serial nature of the scenes depicted was merely alluded to,
previously, it occupies a much more prominent place in Organic
Stench. The audience is thrown into a horrific environment, in a
manner sharing similarities to a kidnapping, to receive a confession.
The narrator expresses their taste for scientific, culinary, and
artistic experimentations on unfortunate victims. It appears as
though no part of the victims will go to waste. The bodies are
measured and possibly catalogued, the organs will be consumed, the
bodies will be embalmed. The author takes pride in what they may call
their work.
The
lyrics present a second reference to the image of the meat hook,
which is a recurrent theme in death metal. One of the most obvious
examples brought to mind is Cannibal Corpse’s Meat Hook Sodomyiv.
There is also a band of the same namev.
This fascination could justify dedicating an entire essay all to
itself. For the time being, suffice to say it is an element borrowed
that contributes to making this album a classic of the genre. Similar
to checking boxes on a list.
In
terms of cannibalism, one of the most famous example from literature
may be Hannibal, as he was the subject of multiple movies and series.
If Hannibal brought a certain element of class to the crimes he
perpetrated, the portrait depicted in Organic Stench is much more
gruesome. The victim selection is rather offending, as it is barely
imaginable that they had committed sufficent wrong in their short
lives to deserve such a fate. In addition, the condition of the
bodies juxtaposes an element of morbidity to the scene. The ‘grime’
covering the bodies, the ‘vicious pus’, the ‘blistered skin’,
the ‘parasites’, gases, ‘biles’, ‘sweat’, ‘brains
encrusted with worms’, ‘decay’, ‘perforated sternum’,
‘chopped lumbar vertebrae’, ‘apophysis’ constitute a list
liable to suscitate dry heaves. If Hannibal demonstrated a certain
gratitude towards his victims, and if his anticipation increased when
confronted to a playful chase, the main character of this song
demonstrates such primal instincts that the acts border vulgarity.
There is not hint of respect towards the victims and the only focus
would be placed on their own orgasm. The relationship is one-way.
The
reliance on plural to describe the victims suggest that the audience
is exposed to the work of a serial killer. The idea that measurements
are taken, the amount of pleasure extracted from the act, the
attention to details that purport to the disposal of every part of
the cadavers, on their part, demonstrate a certain method. In order
to sustain this terrible activity for long enough to take it to
almost industrial efficiency, the scene could not be an isolated
incident.
Because
of the idea that the song may be a confession from a serial killer,
the question of its identity automatically arises. Disposing of only
a few circumstancial clues makes the identification process
difficult. In order to filter out potential suspects, one may rely on
profiling. The maniac owns a property with a basement. The phrasing
‘my basement’ gives the impression that the property in question
would most likely be a house because it implies an element of
familiarity. If it were a barn or a warehouse, it appears improbable
they would refer to the place as ‘my barn’ or ‘my warehouse’.
Therefore, houses, either in urban or rural areas, should be
prioritized. The location would probably include an oven or some
cooking appliance that allows baking and roasting. Unless, of course,
the culinary references are meant in the sense that the meals will be
enjoyed at a later time. Having a facility that offers all the
necessary conveniences would reduce the risk of getting caught.
Seclusion may be necessary if the victims are taken alive. If their
death occurs at the site where they are taken, seclusion would not be
mandatory. The reason being that they would not want to risk the
neighbors hearing the victims’ screams. There is the possibility
that the murderer might have a soundproof room. If it were so, that
would imply they have certain financial means. The person would have
to have access to a location where there are many children like a
school, a daycare center, or a park, for example, as suggested by the
quantity of victims. It does not mean that they live nearby, though,
as transportation would enable them to be mobile. Although driving
long distances with kidnapped victims may not be optimal, it is not
impossible. The reliance on jargon suggests a form of medical or
scientific background. If access to dissecting tools may prove to be
a simple task, nowadays, it might have been a little more problematic
over thirty years ago. If it were not for the jargon, something like
working as a janitor in a hospital might have been plausible. The
idea that pleasure is derived from the decayed state of bodies is
conflicting with the idea of a medical background, as their
professional focus is placed on healing, rather than dismantling.
However, this apparent contradiction may be a dangerous assumption so
no hypothesis should be overlooked. Finally, the mention of worms
suggest that search parties should not look for entire bodies, but
perhaps expect to find bones as only remnants. As they usually appear
at a more advanced stage of decomposition, and decomposition is
facilitated by heat and humidity, these conditions would have to be
taken into consideration. However, they can be artificially recreated
and are, therefore, not to be taken to be indicative of the climate
in the area.
Although
researching the different conditions that may result in a maggot
infestation of the colon area may prove to be very educative, as I
have not personally pursued medicine, the potential for a
life-changing impact appears as faint. In addition, relating to a
person captive of an archeological site populated by impaled corpses
provides few morals to be derived, if any. There can be no doubt that
it is a story, quite litteraly, otherwise the text could be
considered an excerpt from a diary, discovered while visiting the
place. Stories are crucial pedagogical tools relied upon to extract
lessons by other means than direct experience. Therefore, they are
not without value. Accumulating such tales, while providing an
element of variety, also generates a degree of familiarity. As one’s
exposure to this realm grows, so does a certain degree of comfort.
Ultimately, hearing the confessions of a child murderer and serial
killer, compares to reading a true crime novel or a newspaper
article. It may serve as a reminder that such events do take place in
the dark corners of this world as well as a form of reality check.
The
contrast in the texts between musical genres could not be more
obvious when you compare the lyrics of Necrotic Mutation to those of
a band like Rorschach, for example. The perspective generally adopted
to convey the images in a genre like death metal places emphasis on
the decay and putrefaction, while the characters portrayed are often
mad or deranged. The subjects and acts described push the boundaries
of shock and consternation and the thought that any public would
completely support and condone such behavior would make this world
quite a dangerous place. So, what does that say about the bands and
their audience? What value does this collection of tales bring to the
table? Reliance upon multiple stories describing life and death
situations creates an insistence that highlights a certain
fascination with death. In a pedagogical perspective, there may be
knowledged to be passed on. Perhaps this could be one of the values
of death metal –to prepare those paying attention for one of the
only certainties of a franklinian lifevi.
This morbid tapestry is giving center stage to a collection of
elements that the world may otherwise ignore and suppress because of
their disturbing nature. Being too unsettling, the general public
would rather entertain themselves with comforting, pleasant ideas.
Exploring these themes could allow people to get acquainted with
ideas that show life in a different light. Death metal could also be
an outlet for people struggling with a form of anxiety towards
mortality. By weaving together so many variations on that theme, they
may be able to defuse their uncertainties and grasp a little bit of
control. It is also possible that it is similar to therapy and that
by writing such outrageous lyrics, the authors leave it all on paper
and are not tempted to get out to satisfy their urges. One could also
posit that it is simply a form of escapism and the writers of the
genre are building themselves their own world, projecting their
deepest instincts for all to hear. These hypotheses as to the
function death metal may constitute the first step in a deeper dive
into the genre. The recurrence of patterns and themes through the
genre may help define the impacts that such texts generate. Further
analysis will most likely be required.
