Wrong One to Fuck With reviews
grimwinter13 on July 12th, 2017
They mean it, people. Don't fuck with them.
As one of brutal death metal's elder acts, Dying Fetus have a high standing in the genre, and therefore have a reputation, a status if you will, to maintain and a responsibility to provide consistency in their music. Lately the band has been releasing albums sparingly, with a three year stretch between Descend into Depravity and Reign Supreme, and another five years between Reign and Wrong One to Fuck With. While some may see a band's prolonged period between albums as hesitation or procrastination (I'm lookin' at you Necrophagist), Dying Fetus are clearly using the time to write material with much thought and carefulness. One of the main things about Dying Fetus that has kept them moving forward without having to switch sound completely or fall into a pit of repetitiveness is their knack for for excellent riff writing. With the sole exception of 2007's War of Attrition ("War of Atrocious" is you will), every Dying Fetus album has been interesting, refreshing, and maintained consistency.
And Wrong One to Fuck With is no exception. If anything, this is a step up. Maybe the fact alone that this is their first album cover since Grotesque Impalement to feature their 'brutal logo' is an indicator that they're not fucking around. Yes, Dying Fetus mean business on this album, and oh boy have they really delivered. The first noticeable highlight on Wrong One to Fuck With is the insanely fast pace. While the preceding two releases put focus into rhythm, WOTFW takes on a vicious, speedy attack from the moment "Fixated on Devastation" begins. And with that speed, there's also an accompanying return of the technical, grindcore-soaked riffs from Killing on Adrenaline and Destroy the Opposition. And to give the big picture right away, Killing is the most comparable album to WOTFW. The first two tracks are both disorganized collections of aggressive grindcore blasts and slams. I don't mean that in a bad way, either. But once "Die with Integrity" kicks in, you begin to hear the band bringing in the groovy stuff more relatable to newer material.
"Die with Integrity" begins with a lengthy and steady breakdown to build up the hype before taking off into a frenzy of structured blast beats and slams. At over 5 minutes long, it takes its time with each new section, letting the riffs sink in and settle, then moving on before they can become stale. Also: the best music video Dying Fetus has ever made. It was directed by Mitch Massie, who's recent (in)famy has stemmed from his work on the Cattle Decapitation videos. So you know you're in for a gory work of art.
The fast pacing becomes the dominant attribute of the album, yet Dying Fetus don't seem too rushed. Each song lasts between 5 to 6 minutes, and takes their time to hook the listener, bludgeon their face, and then move on to the next part without having to stop to breathe. The level of effort and thought put into the songwriting compliments the speed/brutality in flawless unison as to keep the attention levels high.
Dying Fetus will be playing on the Summer Slaughter tour this year, and they are officially the band I'm most excited for. Hearing this new material live for the first time is certain to be awesome. These guys ought to be really fuckin' proud of themselves. They're all incredible talented in not just playing their instruments, but also in intelligent writing, marketing their albums well, and continuing to both surprise us and impress us. Destroy the Opposition better watch it's back - this new guy is here to conquer and he is the Wrong One to Fuck With.
Daemonium_CC on July 8th, 2017
Wrong One to Fuck With
Dying Fetus have ALWAYS been the wrong ones to fuck with. With a name like Dying Fetus, you've pretty much forsaken any form of commercial success from the very get go. John Gallagher, being the badass he is, doesn't care about that. Dying Fetus is Dying Fetus. They've always pumped out quality albums, some better than others, but there has never been a weak one. And this one is on the higher spectrum of albums they have released throughout their 26 year career.
First thing to note - the old Dying Fetus logo is back. YES.
Second thing to note - gruesome album cover. In fact, John had a whole different idea for the cover, which involved a woman's torso with her organs hanging out, but Relapse stepped in and said no. Don't go soft on us now, Relapse!
It's also great to see that Dying Fetus have had the same stable line up for ten or so years now. Trust me, death metal line ups don't get much better than this. Still a three piece, the boys from MD can make enough noise to make you go deaf for a few days. I've seen them live and it was quite the experience. If they stroll through your town, prepare for decimation. Don't miss it.
Onto the music, and this one is an easy one to review honestly. The band pick up from where they left off with Reign Supreme, but actually give it a few more shots of adrenaline. The songs on here are angrier, faster, more technical and just flat out more fun to listen to.
Dying Fetus has always been a band known for their stellar guitar work (you have John to thank for this) and here it's no different. The riffs cut and slash, grind and pound, skewer and impale. Just the right amount of technical wizardry mixed in with John's trademark bouncy riffs. Sean puts in a stellar performance as usual, and Trey just beasts through this rock solid slab of metal. The vocals are top notch. They are always top notch with Dying Fetus. Both John and Sean sound great.
The songs themselves as I stated earlier are more fun to listen to than on Reign Supreme, and that's mostly down to the arrangements. The songs have enough content in them to keep you interested, enough twists and turns so you don't really know where you'll be ending up next, but when you get there it makes perfect sense. I only wish the sound production would be a bit punchier (Reign Supreme sounded amazing), but this still sounds pretty great as it is. You'll want to turn up the bass a bit on your home system, however.
I'm not going to go into detail about particular songs or sections like I usually do, because there is simply so many of them. You'll just have to throw on a good set of headphones and enjoy all the intricacies for yourself.
Always worth the wait, Dying Fetus never fails. Never. Like I said before, they are ALWAYS the wrong ones to fuck with.
Standout tracks : Panic Amongst the Herd, Die With Integrity, Reveling in the Abyss, Seething With Disdain, Unmitigated Detestation.
Jlu37 on July 7th, 2017
Really solid album!
Dying fetus has come to be a juggernaut when it comes to the death metal genre as a whole, and they are known for how well they balance out the grooviness and technicality, and add in the distinct deep growls of John Gallagher, and the more aggressive, slightly more mid ranged vocals from Sean Beasley, you have a death metal band that stands out from the crowd and is very well regarded within the death metal and extreme metal community as a whole, even if technical brutal death metal isn't anything that is overly new. The band has a consistently solid discography, some albums being better than others as far as general consensus goes, but still with many highly regarded albums, destroy the opposition and their previous release to this album, reign supreme personally being my favorites as of right now, reign supreme being one of my favorite albums of all time now to be completely honest. When I heard that dying fetus was releasing a new album, and I saw the newly released album art work, even seeing how they reverted to their old school logo I was really excited! Even if the album title did give off a sort of stereotypical metalhead "tough guy" machismo vibe, and what I heard did not disappoint once I received my pre order of the album in the mail. The sound they go for in this album is nothing significantly new, but, it still is dying fetus doing the sound they pretty much do best.
The guitar work in this album is much in the vein of reign supreme, yet with slightly more focus on the groovy, rhythmic, breakdowny slam side of things, whereas reign supreme had more of a perfect balance in my opinion between technicality, groove and the pummeling, trem pick, straight forward style. This album I would still consider almost a continuation of reign supreme in a way still. It doesn't reign supreme over reign supreme in my opinion, but it still strives to be the next best thing, which is what I admire about this album. One thing I would definitely say that does set it apart from reign supreme however, is how because it focuses more on the groovy side, it results in some extra catchiness. It still consists of some extremely technical riffs that would likely cause the fingers of an inexperienced guitarist such as myself to be reduced to dust, and plenty of extremely devastatingly fast, carpel tunnel inducing tremolo picked death metal riffs as well as I probably mentioned before, although the transitions in some parts aren't quite as seamless as in reign supreme, I will say that, but it's still not so clumsy or frequent that it negatively effects the album substantially.
When I first threw on the album, which I received a few days before the release date, on my turntable, my first thought was "wow... John Gallagher sure seemed to have taken a much more guttural route than usual", and I thought that it they went down a slower, thicker, slammier approach to this album, which kind of struck me as odd, because I thought that they didn't sound like that when they released the track fixated on devastation, then two tracks in, bring the slow dumb ass I am, I realized that I just MIGHT have been playing the record at the wrong speed. So I changed it to 45 RPM and it sounded like the dying fetus I know and love, so, heed my story as a warning, play it at 45, not 33! If you get the LP of it. It'd kind of take away from the listening experience. You're welcome! But anyway, that being said, the vocals were exactly what I was hoping for, and both John and Sean are still at the top of their game when it comes to vocals. John Gallagher impresses me with the fact that he is now about 42 years old, but still is on par with the band's older material when it comes to his vocal performance. He's definitely doing his shit the right way as opposed to certain other aging death metal vocalists(cough coughchrisbarnescough cough). And I'm not sure how old Sean Beasley is, but he is still as good as he's always been in my opinion, and the two vocalists still complement each other very well. For a trio, this band plays just as well if not better than a lot of four piece bands, and the drumming as well is just top of the line for death metal. The drum work can of course range from your very fast, pummeling blast beats, but the drummer also changes things up enough to keep it interesting.
Overall I just think that the band is still just going really strong, even after more than a quarter of a century, and over those 26 or so years, dying fetus has been proven to be the wrong one to fuck with when it comes to death metal, with no compromise and their lowest point only being with war of attrition just because of the production on that album. Although this isn't my favorite album by them, I still think it is a great album by in my opinion, one of the best death metal bands. Some highlights for me personally are the songs fallacy, unmitigated detestation, weaken the structure and reveling in the abyss.
DrSkullfuk on June 28th, 2017
Having discovered Dying Fetus through their last album Reign Supreme, they quickly became of my all time favourite bands even outside of my death metal favourites. Their mix of brutal vocals, slamming breakdowns and complex riffs just hit the spot in a way that so many other death metal outfits have failed to do. Naturally since then I've gone through their discography and was even lucky enough to see them live when they came to Dublin a couple years ago (I met the band afterwards and they seemed like very nice guys). While I listened to their numerous albums I noticed that after Destroy The Opposition the groove seemed to take a backseat and the more technical death metal style took over more prominently, ultimately giving us Descent Into Depravity which features very few grooves/breakdowns. Still a brilliant album in its on write, but it lacked that certain something that makes Dying Fetus so brilliant: groove.
Reign Supreme was a return to their breakdown filled roots, still enough tech to stay far away from being labeled 'lazy', but more focus on their signature rhythmic sound. So in the lead up to this album the main question I had was if they would continue down the path presented by Reign Supreme or would they instead decide the days of breakdowns are over and to pursue their career as a formidably technical death metal band. What I hadn't anticipated was that this album would fuse this two directions so well that it might just be Dying Fetus' greatest album to date.
So is there groove on this album, you ask? Are there enough breakdowns and slams to make a Devourment fan salivate? The answer is yes, yes indeed. Wrong One To Fuck With takes the intensity of the Reign Supreme breakdowns and spreads them across the album as generously as in Killing On Adrenaline. In short this album doesn't get you head-banging then truly nothing will. Panic Amongst the Herd starts off with one of the best start-stop grooves I've heard and the title track is just one long head banging fest. It's impossible really to pick out the best examples of the best breakdown sections on this album because every song would end up getting mentioned, overall if you're a fan of their earlier groove style don't worry, you'll be satisfied here.
However that's not to say they went for groove over tech here, not at all! In fact this might just stand toe to toe with Descend Into Depravity in terms of sheer technical death metal. So how do they manage to get the mix between tech and groove you might be wondering? The best example of this that really sums it up for me takes place during Unmitigated Detestation around the 3 minute and 12 second mark, turning what would have definitely been a technical showcase on Descend into a mosh pit inducing breakdown. Just listen and you'll see what I mean. The song structures also lend hugely to this. DF songs always had a sprawling feel to them, seemingly unrelated sections blending together perfectly to form their signature style of death metal, and on this album this is only strengthened further. What might be my favourite track on the album Reveling in the Abyss throws so many riffs, breakdowns and technical displays (any one of which could easily be the basis for a full song) that by the half way mark you still have over 3 minutes of pure DF to revel in. So fans of their more technical side can rejoice as well, I think there's enough tech here to go around.
Production must also get mentioned. Describing it is easiest in saying it's about halfway from Descend Into Depravity's more crisp, trebly production and Reign Supreme's more bass filled, crushing mix. And I feel they hit the spot on this one, the guitar tone fits the music perfectly, the bass crunches away in the background giving real body to the mix and the two vocal styles are used excellently as usual across all their albums. One stand out thing in the production for me in the drums, you can really hear them in the mix without them intruding more than they should. The bass drum sounds very natural, less like a trigger/click but a real thump (like a bass drum should sound in my opinion!), and you can actually hear the different cymbals being used much clearer than on most death metal albums (the breakdowns really benefit from being able to hear the sharp crashing sound of the china cymbal).
If I had to find a criticism for the album I guess I could say that some of the track names lack the punch of the older DF albums, but I've felt this about the last few albums really. It would be nice to get an update on song titles like Pissing in the Mainstream and Kill Your Mother / Rape Your Dog. Still, a very minor complaint as the song titles work fine as they are and set the tone quite well.
Overall could this be the best Dying Fetus album to date? Between the mix of groove and tech, the excellent production and the fact that there really isn't a bad song on the album, yes. Definitely. Reign Supreme was a hard act to follow, especially with such a long wait giving expectations plenty of time to build, but DF pulled it off. I'll be blasting this one for a long time and it's sure to be my top album of 2017.
Stand out tracks: Reveling in the Abyss, Die With Integrity, Fallacy, Weaken the Structure.
Twin_guitar_attack on June 26th, 2017
Wrong One To Fuck With
Wrong One To Fuck With is the eighth album from death metal powerhouse Dying Fetus and their first in five years since 2012’s Reign Supreme. The long wait between albums is completely justified though on WOFW, not only is this the longest album in their career, this is Dying Fetus at their very best, with arguably their finest offering to date. The mid nineties brutal death metal sound with insane technical parts (but not too much or often that it’s ridiculous) and lots of groovy slams combine spectacularly thanks to great song writing on an album that provides everything there is to love about extreme death metal, all wrapped up with a great album artwork and a return to the old logo.
I was hooked the moment I heard the first single Fixated on Devastation and had been playing it a lot on repeat excitedly in advance of hearing the album. As the opener it’s perfect Dying Fetus – a fast sweeping riff and frantic drums leads into a lumbering groovy slam where Jon Gallagher’s usually gravelly gutturals come in, showing he still has one of the best voices for this style, brutal in tone, aggressive in attitude. With blazing technical sweeps and leads, faster sections of blasting brutality and dirty slow slams they’re constantly moving and changing while it still sounds like a coherent song. And nothing in Fetus’ sound is overdone at all, the fretboard wizardry isn’t so prevalent and over the top as on some previous releases as to just overwhelm everything else, nor do they just chuck slams in here and there for the sake of it, they pack plenty of faster classic brutal death metal riffs in among the carnage – this isn’t a display of either self indulging technicality nor neanderthalic slam. It’s insanely brutal death metal that keeps you on your toes the whole time and times each riff to perfection.
There’s also a surprising amount of variety to be had on the album too, with Revelling in the Abyss starting off slow and gloomy, before speeding up and adding some icy tremolo picked melodies that wouldn’t sound out of place on a Marduk album, while Weaken the Structure’s vicious blastbeat fueled mid paced riffs crush like a tank. The title track Wrong One To Fuck With sounds truly evil in the slower chorus after one of the few more pedestrian opening riffs, Jon’s slower vocals like that of a deranged serial killer accentuated by more blunt force riffs. I could write about all the other songs too, as each one is great on its own merits, and even at 50 minutes long compared to their usual 35 the album’s still great enough as to never get boring.
Wrong One To Fuck With is arguably the best album in their discography so far, it’s got absolutely everything to love about the usual Dying Fetus sound, but done to perfection with supreme brutality, technicality, slams and song writing. There’s been lots of great death metal albums already this year, with veteran bands like Obituary and Vomit Remnants, and newer bands such as Tomb Mold, Phrenelith and Dodecahedron putting out fantastic efforts, with Immolation top of the pile with the monstrous Atonement. Wrong One To Fuck With sits with Immolation firmly at the top of the pack, and easily joint-best if not the best death metal album released this year so far. Incredible stuff.
Originally written for swirlsofnoise.com
6CORPSE6GRINDER6 on June 26th, 2017
Last time being wronged
Dying Fetus’ last albums are lethal, since Descend into Depravity which was a great album, they just have got better and better. Reign Supreme was an excellent follow up and Wrong One to Fuck With is the cherry on the pie; probably their best record since Destroy the Opposition, my favorite album from the band. The band’s work is very professional both in studio and live since the release of their 2nd LP, so you get what you expect from a band with such credentials: top quality brutal death metal with hardcore influences.
Composition wise they follow the same formula that made them famous, maybe just adding an apex of melody. Slow paced sections are often still there, with their groove and heaviness in all their glory. Mixed with those breakdowns we can hear killer riffs introduced by the guitars and then marked violently by percussion, followed by frantic blast beat sections performed at hyper speed. Soloing, tapping and sweep picking sections are rather technical and amusing, keeping some balance between melody and aggression. The bassist does an excellent job following the guitars, considering those figures are harder to play on bass due to the size of the frets. Hardcore punk riffs show up occasionally; adding variety to the sound of the band that has so many different textures.
The production of the album is super modern and professional, the mix is super balanced; bass guitar tone can be fully appreciated, it has a smooth distortion and it's equalized so that the sound of the string hitting the fretboard gets in the high end of the mix. It's also super thick and crunchy, all these details help the bass to cut through the sound of the rest of the band while serving its purpose as companion for the six strings. Guitars are down tuned as hell but their lows don't collide with the bass, its distortion is super raw and sharp but has 0 ground noise or analog feel on it. The sound of the drums is pristine but not over produced, it still appears human with a brilliant technique, precise as a Swiss watch. Brutal and elegant at the same time. The vocalist is on top of his game on this album, his growls are super low and deep and sound totally frightening. This modern production style fits the sound of the band perfectly.
I found very interesting that a band can reach a second peak of creativity after all these years around, that's the difference between commercial bands that play for money and real committed musicians that play because they love it and don't give a fuck about the rest. Total respect for these guys.
Death_Welder on June 24th, 2017
What a comeback
As with many bands that have been around for this long, fans are usually split into 2 camps with Dying Fetus, that being the Jason Netherton albums and the Sean Beasley albums. Even fans of the newer albums would probably cite Destroy the Opposition as the magnum opus, some may say Killing on Adrenaline. The Sean era has been mainly knocked for inconsistency, with Stop at Nothing and The War Attrition being very often called boring and weak. 2009 brought the excellent Descend into Depravity, and then the more hardcore and slam influence of Reign Supreme but then the band fell off the map for 5 long years. The wait was worth it as I can conclusively say Wrong One to Fuck With may be their best album, or at the very least holding the throne beside Destroy the Opposition. Jason Netherton was a huge piece of the band, but history has shown us he was completely meant to go off and form Misery Index, and I actually prefer Sean in pretty much every way. He's a brutal stage presence, great bass player and vocalist, and he just exudes the tough and chunky music Dying Fetus has perfected.
The first 3 songs on the album were released as videos before the album release, and they really showcase the surprising versatility of this band. Track 1, Fixated on Devastation kicks off with a section of noodling, followed by classic Dying Fetus headbanging grooves. Panic Amongst the Herd sounds completely like a Destroy the Opposition track to me, and Die With Integrity starts off with a Slayer-esque intro that is really cool. Those three songs, while not the strongest on the album, are a good sampler of what is to come. Track 4 onward is a non-stop barrage of ass kicking riffs, surprises, mosh parts, and exemplary brutal death metal, with Ideological Subjugation and Seething With Disdain being my immediate standout tracks. Induce Terror, which has become somewhat of a live hit recently, closes out the album as a bonus track. If I had to guess, it was written early on in the process as it has a slightly different sound.
I love dependable death metal like Cannibal Corpse, Bolt Thrower, Vader, Dying Fetus, etc where the albums follow the same path as their whole career before, and they aren't all masterpieces but when they do release one of this quality, it is extremely satisfying. This is Dying Fetus with all pistons firing at max efficiency, the 3 gears in the machine spinning so fast and smoothly, the end result is shockingly powerful. If you've heard Dying Fetus before, then WOTFW is everything you love about the band done to perfection. If you're new to the band, be prepared for ridiculous and ignorant grooves next to technical sections, slams, and what I consider the archetypal death metal vocals. I don't know if their absence made me miss them, or perhaps I'm at a point in my life where I'm subconsciously seeking simple enjoyment in my music versus huge and challenging listens, but this is in the top 3 albums I've yet heard in 2017. I liken it to craft beer, which takes a lot of skill to create and a trained tongue to enjoy properly. It is almost entirely objectively better than your average sports stadium beer, but why do I have one then continuously reach for that cold Pabst Blue Ribbon?