orphy on June 19th, 2011
Way too overlooked, this album rocks your shit.
I can never seem to wrap my head around why Autopsy's forth full length (and final one before they reunited recently) gets such a poor response from fans. In my opinion, "Shitfun" is just as solid as any Autopsy release, and it sees the band pushing their disgusting brand of death metal into disgustingly brilliant territory. Every element that made previous Autopsy albums great is present on here, which is the combination of death metal, doomy riffs, and a really punk-as-fuck attitude. In fact, this is likely the most punk inspired Autopsy release to date.
The album previous to this, "Acts of the Unspeakable", pretty much laid out the groundwork for what "Shitfun" would become. At that point in their career, Autopsy was starting to write more demented lyrics, with more focus on obscene sexual fantasies. "Shitfun" pushes this to its most extreme form, and simply just wants to humiliate their victims. What's more death metal than that? In addition to the lyrical content, Autopsy continued expanding on what they were doing musically with the previous album. As I mentioned, this is definitely the most punk inspired record they've ever done, with more short songs that will just pound your face in. Autopsy demonstrates that you only need a couple riffs to make a song effective.
There are so many memorable tunes on here. From the infamously disturbing "Praise the Children", to more upbeat tunes like "Bathe in Fire", "Burnt to a Fuck", and "I Sodomize Your Corpse", you'll have this album stuck in your ears for weeks. The classic Autospy guitar solos that are so unmistakable are still present too. Reifert spews out some pretty classic lines too which can be humoring and vile at the same time, and those are the lines that you'll remember.
Really, what's not to like about "Shitfun"? It's got everything you would expect from an Autopsy record. Maybe metal fans are just turned off by the punkier song structures? Perhaps the lyrical content is just too much for some? I can only speculate, but in my opinion, if you don't like this album, you just don't get Autopsy. "Acts of the Unspeakable" also seems to suffer from being overlooked as well, although I think this is definitely the most overlooked release of Autopsy's career. It's a complete shame, and I can only hope that more people will just sit down and give it an honest listen and enjoy it for what it is. This record is still easily available to buy, and the reissues include a whole set's worth of live songs - a worthy investment.
msupplier on June 5th, 2011
As underrated of an album as any...
I bought Death's "Scream Bloody Gore" in 1987. I bought Autopsy's "Severed Survival" in 1989. Chris Reifert has been in my musical collection in some form or another since those days back in the eighties right up into the present day. Autopsy as well as Abscess are without a doubt in the tops of my favorite bands list. The point of me stating this is because I do not understand, nor agree with in any way, shape, or form any true Autopsy fan's disdain for this truly sick album. And I want to make it very clear I know what the fuck I'm talking about.
This album is very, very sick, and humorous. For some reason certain people don't understand that Autopsy has always had humor in their grotesque offerings. Earlier on in their discography it may have been a little more gore influenced, but believe me the humor as well as the psychedelic mindframe was always there. Reifert has one of the most fucked up senses of humor ever... and I love every second of it.
"Shitfun" is extremely raw and dark. The guitar sound is fucking disgusting and as "heavy" as it gets. I consider it to be a perfect sound. Chris's vocals are so raw and gross it is upsetting(in an extremely good way). Tracks such as "The Birthing" & "Praise the Children" are unbelievably downtrodden & depressing, & give the listener a dose of Autopsy's ungodly doom. You couldn't ask for anything dirtier. "Maim Rape Kill Rape" is disturbing to no end and there is not a goddamned thing funny about it. Just pure sickness. The mix of the vocals and the music sound as if they were being recorded as they were actually destroying a human. If you want sick, you got it.
This release mixes every element of Autopsy's catalog at the time, as well as a preview of where they were headed with Abscess. But make no mistake about it, this is THE heaviest album Autopsy ever recorded. I have purchased the latest album "Macabre Eternal", & while it is a decent album, it does not even compare to this one.
The songs "No More Hate" & "Humiliate your Corpse" are utterly devastating. Coralles' & Cutler's guitar tones on this album rival the darkest & doomiest ever. "Freeway" Migliore, who went on to play for Abscess, handles some of the low end duties here, as well as all the other members(Reifert & Cutler on most of the songs) & even future Abscesser Clint Bower, taking the bass on for themselves on various songs, & it all works.
The ending to this album comes in a slab of noise/blackness entitled "Excremental Ecstasy". I can't even really describe this track. It is beyond repulsive. So grim & black that you are left not knowing how to feel about your existence. It is a total mindfuck.
If you are into Autopsy, & appreciate the more depraved & filth ridden side of them, you have probably already heard this & know exactly what I am talking about. If you aren't into Autopsy, don't even bother because you'd never understand this album. This is sickness perfected. This is Autopsy. This fucking rules.
autothrall on April 27th, 2011
On cock-ups and coprophagy
Well it IS shit, but it ain't so fun. Autopsy's 4th album might be a meager half-truth in advertising, but it's not at all surprising when one considers past tangents (the Fiend for Blood EP) or the direction the band was leaning towards with Acts of the Unspeakable. Punk and sludge had become the dominant flavor in the band's developing devolution, and while there are fewer aesthetic differences in the lyrical concepts of Shitfun to its predecessor, it does feel as if the spade wielding, festered cemetery caretaker of the California crew's formative years had been supplanted by a gaggle of delinquent trailer park pukes who think its fun to eat poop and explode frogs with firecrackers or what the fuck ever to pass the empty days.
This distinction is largely musical, as the lyrics offer the same mix of rambunctious annoyance and a more methodic, ghastly obsession. Reifert continues to communicate with a balance of his early gutturals and splattered punk narrative, but even when he's pinching a groan out it does not seem to have the same effective power as Mental Funeral or Severed Survival. Shitfun has 21 tracks on it, and in my opinion that's about 13 or 14 too many, because as hard as it might be to believe, there are some atmospheric moments amidst the slovenly coprophilia that manifest the creepy overtones of the past, in such installments as "Humiliate Your Corpse" or the slow, drudging "Praise the Children". "Blood Orgy" and "Maim Kill Maim Rape" both have a bouncing crepitation to them which proves worthwhile, but the majority of the tracks are laden in wholly forgettable punkish or dull proto-doom slop that immediately exits brain left. Songs like "Shit Eater", "Geek", "Bathe in Fire", "I Shit On Your Grave", "An End to the Misery" and so many others have about 5-10 seconds of plausible but effortless creativity that offer only a fraction of this band's net worth from the older albums.
Shitfun really feels like a band bored out of its mind, but not so mindless of its audience that it would abandon its prior dynamics entirely. There is a pretty good reason for this: Autopsy had already decided to call it quits, and transition into their new incarnation Abscess. The material here is little more than a transitional galleria of grotesque odds and ends that would not have complemented the value of either Acts of the Unspeakable or Seminal Vampires and Maggot Men. A depot for half-formed ideas. A clutter gutter. A heavily swollen contract filler with no ambition other than soaking in its own bodily fluids and stinking up its environment. Honestly, I'm amazed that this album doesn't 100% suck, but at the same time I'm glad that the members had realized their interests lay elsewhere and cut the lifeline before releasing something even more sill than this. These days, we have Autopsy back doing what they do best, so it's kind of difficult to hold a grudge over this misstep, but of the 55 minutes here there are only 10-15 not worth an immediate flush down the the maw of the nearest porcelain deity.
rabideasterbunny on January 24th, 2011
Autopsy- ShitFun Review
This album happens to be their 4th dating back to 1995. I have to say this might be my favorite album of theirs. It is so dark, evil, and filthy, yet doesn't fail to put a smirk as well as a hopeless gaze on my face. It captures the grim nastiness of humanity. It reminds me of filthy porn and of certain ironically themed horror movies I've watched.
Every song is pretty much kick ass but some songs in particular i have to comment on are tracks like "Burnt to a Fuck" , "Shit Eater"
and "Grave Violators" which are my favored ones off this album. Burnt to a Fuck has this malicious descending bass line at the beginning which is accompanied by some bangs on the snare and the padded clacking of the bass pedals. The secondary riff has this groove to it that fits good. Half way through the song are these whaling guitar notes which almost remind me of a killer whale moaning somewhere in the depths of an ocean. And as the end draws near , everything seems to come to a deary close as the guitars whine once again in a cry of agony, misery, and utter horror and then Chris Reifert closes the final seconds with his last words echoed into obscurity which fade away as if he was giving a nod to the Friday the 13th films.
When I hear Grave Violators it feels me with gloom and thoughts of doom. I look at the lyrics and think to myself that this is some cracked horrid stuff haha but I love it . The feeling i get is a miserable one that i also smile when blaring it in my headphones on my mp3 player strolling through the local cemetery as i walk by people. The musical tone of this track is obviously a dark one and has a concept which talks about digging up the bodies of babies and adults and smoking sherm sticks whilst sitting on burial crypts and having public sex, some evident humor there but expected none the less. It's a definitive eerie song occasional bangs on the toms and high hats then comes a slamming guitar riff filled with misery as a moaning guitar note creeps out of the shadows to say hello.
After that is riff with an eerie groove where at the end of it is a descending type of scale. The solo is chaotic yet simple and reflects an unhinged mind. It comes to a slower continued guitar riff until it takes a brief pause and then comes this boomerang of insanity that is crazy! This one riff starts merging into another and joins with a final climax that erupts it's scolding semen onto your neurons. I would imagine that if you took 10 bong hits and drank a six pack when listening to this you'd be sure to blow your brains out.
Alright, last but not least is Shit Eater, let me just say if you've never seen a porn film where a horny couple smothers each other in their own feces you may not catch the irony in this album cover and title. The start of this track begins with a short gallop on the drums with a clash of the symbals and a moaning droning guitar riff that makes me want to toke from a bong and then throw a bucket of my own crap on my landlord's head. I also think it gives me the shits. The reverberation of the drum symbals almost reminds me of a gassy whispering fart or the slithering scraping sounds a turd can make when it comes oozing out of your bunghole. In this song Chris Reifert yells a lot but it's sort of like he is crying or pissed off and depressed at the same time.
This concludes my Review for Autopsy's "Shit Fun" Album , I hope you all like it and go buy the album its worthy of a purchase.
Byrgan on August 23rd, 2010
Autopsy's last release in the nineties, before calling it quits and switching over to Abscess minus founding guitarist Eric Cutler, is the band still lyrically pushing the limits of indecency, obscenities and are taking it to another level by trampling all over your precious little sensibilities right from the get-go with the upfront, impersonal and downright sensationalist title and cover art of "Shitfun." This isn't going to be everybody's cup of pee, I can poo-mise that.
The production, instead of sounding spacey or surreal like the previous release "Acts of the Unspeakable," comes off as somewhat caked and muffled: the guitars are a thick blend of distorted weighted tones, the vocals have a few drowning effects, and the drums, when going faster, can somewhat mesh in with the guitars. It can also sound like this recording has slightly shifting sound levels, like the mixing was purposely messed around with in this regard to not sound too clean or upfront. This can be more or less fitting to their song writing here since the band omitted a good amount of their past technical playing and decided to mostly keep it simple, and I can imagine this type of loose or blunt playing would have sounded off with clearer tones.
"Shitfun" can range anywhere from resembling just a few of their past structures and techniques to adopting pretty much a newer form of grind-doom-hardcore that sounds like another start, or the end, than the Autopsy of old. The mentality attempts to drop a lot of what they did prior by charging forward—minus the protective helmet—into any social tie-up that gets in their way likewise to what GG Allin, The Mentors and Anal Cunt were doing with their gimmick heavy shock theatrics. Basically whatever those bands could do to shatter your "barrier" they'd do it, pissing off fans included. Though certain types of extremity pushing bands, or their entailed albums, might only work to a certain extent. Then again, I guess that depends how far to the left or right you are, or just plain unaffected or wound tight. Take Anal Cunt, essentially you get a chance to stir up a few people with their song titles while laughing with and at them along the way, but if taken further than that you might realize the music sounds like the ass-end of hell and head opposite. GG Allin, which this no doubt borrows off of with its "shit" antics, is better suited for his live stuff as listening to a record just isn't the same as the visual where he'd go wild and the unpredictable threat of danger was the real deal—the point before the cops showed of course. The Mentors, on the other hand, had somewhat balanced catchy tunes combined with obscenely perverted lyrics; their music videos using either cheap looking prostitutes or strippers were hilariously over-the-top. You could chalk it up to the precursors of those bands and the pushing-buttons mentality in music can keep on being back-peddled from there, but I'm focusing on the genuinely cancerous of the ill-mannered; however you look at them: as either the side-show clowns or the the anti-heroes of their day and age.
As for Autopsy, they took some of their know-how structured past and made their recording a little more musically accessible; essentially it isn't just lyric centered or reliant. This release feels like the band is having self-entertainment at the expense of the listener like the others but still has moments where the music is relatable, even somewhat personable at times with creating certain mood centered sections that are returnable. Though in certain ways this can come across like a 'spite album' either to someone such as their label. Corporate take-over! Or just simply to a few extreme metal bands at the time who were either ironically beginning to sound alike, or just conforming to a wider audience like Carcass in this last case. Part of this does feel sporadic and like it was quickly written, and other portions might be basic but are a little more involved, like they actually took their time on some between all of the crudeness. You essentially get a blend of both sides: the shock, and a potential to return to that shock. How much? I guess that depends how much you've been desensitized, or what you've heard before. Basically part of the formula that some bands miss out on, because they work better in gossip or printed articles when they did something horrendous, or just simply need the playing-live visual, is approached a little bit differently with Autopsy's take on it.
The vocals are all over the place with various tones and placements, and the intention I'm guessing was to have them so the listener wouldn't be able to call them out on sounding identical as the just-played last track. So instead of getting build-ups with each vocal section, we can have it all laid out on the table for us either by Reifert using parody sounding growling, or grunting, screaming, yelling, pretty much any little quirk he can stuff into the songs whether it sounds like it might go there or not. Yes, that's cool, no, yes, noooo! Something like Impaled Nazarene's debut where it's hard to tell at which point they're stern and at which point they're being pranksters. Maybe they wanted you to know, maybe they didn't, or it's possible they're just plain scratching their heads thinking: 'Wasn't it obvious enough?' I guess either way it can be unsettling by being contorted beyond the norm to heighten a moment with raw emotion, or just callous and direct to disturb the concerned type—one way or another it's gonna get you and I'm sure that's the goal they had in mind whether that affect is lasting or not.
Even though the guitars sound deep and downtuned, they have a few riffs sprinkled here and there that dive below the top strings and will pull out some successive single notes. They also have moments when going faster or at a medium pace where they're something like a buzzing noise: sometimes being simple, catchy and pulling you into their grasp, or at others they're like a hubbub that just went by your ears, and in turn if someone asked you what they sounded like, details and descriptions might escape you. Like some primitive hardcore bands, they frequently stick with strumming techniques and only will occasionally toss in some palm mutes. This still has solos randomly spring up—they included loads of cavernous reverb and can range anywhere from hitting as many notes as possible, and as quickly as they can, to some simple bends and atmospherics. Actually even the drum beat is still at a moderate level, typically using something in the vicinity of an-every-other-click medium thrash pacing, or if you want to stretch it, in the range of a D-beat. Reifert's chops are frequently down-sized to match the at-most-times basic song writing. He's on time here, but for a chunk of this I just get the feeling that typically whatever comes to his mind quickest is what goes, like there are cases here as if they're reciting the background blues, and then, of course, a few other sections that plan the moment ahead and produce more thought through sounding patterns. It's like he's coming in to record with a tendency of this or a temperament of that, leading to varying modes and placements.
The previous full length, "Acts of the Unspeakable," had some sections that seemed like they might have came out of nowhere, like certain changes with speed or particular techniques might have been almost mismatched within a song. The structure here does handle the tempo changes more consistently, like they're glided in, instead of crash landed in. Though one reason why they were able to do so with this release is that they are frequently down-playing their own abilities purposely; scratchin' some of the paint off and sportin' the primer is more like it. Now, this never made claims to being a perfect recording, and I'm sure the band revels themselves in knowing that not everything lines up symmetrically or in a nice little package, even if it was manipulated to be this way. Although, if you're considering an investment with this and want the nitty-gritty, with all sides combined it can feel more like a rough-cut than a from-start-to-finish album. Like you'd get more out of it if you put it on, find your favorite tracks and then leave shortly after for some other hooligan making.
The way I look at this release is it's more for fans of what would come with their band Abscess where some of the members got a chance to go off in their own corner and do their own little limited-audience thing without the heavier responsibility or pressure with Autopsy. I'd say for most people the ultimatum as a prior fan is: Either you're going to be all for it or not. One way of looking at "Shitfun," is that Autopsy are taking it back to the roots of extreme music before things got a template, especially by including an audible hardcore mentality that some metal bands kept hidden either for rivalry of outside genres, or just simply for not being able to pull off the combination so they went with one or the other. Even when they're playing slowly, the band might only plod and crunch a few bulky notes. Sometimes focusing on throw-sand-in-the-eyes aggression and at others going with a kind of get-this-filth-off-me atmosphere. On one hand, you got to give that what it's worth because I'd imagine Autopsy didn't want to be that well-rounded band full of conformity and all-around appeal, which is usually the progression of where a group with a building following and discography goes to or shamelessly reduces themselves with to stay afloat.
There are some steady areas that do indeed work among the 20 or so tracks, like time was allotted to certain pieces and it pays off when it happens. Then there are others where it's left as is, ready to leap forward into the next song. This has portions that might run through standard riffs, drum sections, or just have some areas where the vocals might be lost to their own cause. It's as if their overall personality was only able to go so far and might have been hoping for a whole lotta freshly severed rabbits' feet of luck to carry them the rest of the way. In turn, this recording begins to stretch its validity as more time goes by, leading to your attention tapering away by so many tracks and so much of the same rearrangements in. Like it could have used some musical shortening to simmer out the cooking time. Essentially certain redeeming attributes that Autopsy had prior disappeared, like, for instance, the prominent bass playing, the patterned tom hits on the drums or just the mesmerizing dual guitar lines. That wouldn't be an issue if any of those stand out attributes were replaced with something else that can actually take its place or fill the void, and I'd imagine that I would have received this recording much more so as another change-over release that still works on its own legs if they did. This does have some experimentation with certain effects and unique modes of playing that work, and if you're judging a book by its cover, it's not entirely a splash, splosh or "shit" storm of this or that, but then again all-and-all those redeeming portions aren't enough to rescue or overcome the whole recording.
Goatpunk on February 26th, 2007
Many people really hate this album and I guess I can see why they would if they really loved "old Autopsy" and despise the punk influences that can be heard here. But that doesn’t bother me a bit.
As I said there are obvious punk influences on this record, but it’s not like they’re playing punk like I’ve heard someone say. Most of the time they play typical Autopsy riffs with more of a punk-feel and that’s as far as the punk influences go. They have maintained the droning doom parts of songs that they used a lot on "Acts of The Unspeakable". The vocals are very cool and sick as always but sometimes get a bit weirder than on earlier albums, but that’s good because it fits the music. Now I know many people think the vocals are out of place and especially the really dark growl Chris Reifert uses at times but that’s the charm! The album as a whole is pretty sick and the vocals just add to that by being a bit out of place at times. As for the drumming not much is different, if anything at all and that goes for the bass as well. The album cover is also really great and if you don’t think so you should at least be able to admit that it fits the album title very well! However this album does get a bit boring... well not boring but kind of uninteresting at times. That is probably because many of the riffs they use sound kind of similar to songs on their other albums and it doesn't quite "hit the spot" as some of they're other albums. Other than that I can’t really find anything to complain about.
Right, so is this Autopsy’s punk album? NO it isn’t. They sound more or less like they have always done but with an increased punk influence but its still Autopsy. Sure this album is no new "Mental Funeral" but then again that would just be boring. Now that I think about it this album is more like and Abscess album. Well anyways, I like this album and you should really give it a chance if you don’t like it but if you’re new to Autopsy than maybe "Severed Survival" or "Mental Funeral" are better to begin with.
Shitfun track list
|2||Humiliate Your Corpse||03:28|
|4||Praise the Children||03:41|
|8||I Sodomize Your Corpse||03:40|
|12||No More Hate||02:02|
|14||Maim Rape Kill Rape||05:04|
|15||I Shit on Your Grave||00:42|
|16||An End to the Misery||01:13|
|17||The 24 Public Mutilations||03:10|
|18||Bathe in Fire||01:42|
|20||Burnt to a Fuck||03:46|
|Chris Reifert||Vocals, Drums, Bass (tracks 3, 5, 7, 10, 13, 18, 19)|
|Eric Cutler||Guitars, Bass (tracks 1, 2, 9, 14, 17, 21)|
|Danny Coralles||Guitars, Bass (tracks 8, 11)|