Fit For An Autopsy
The Process Of Human Extermination
7.3
Fit For An Autopsy isn’t doing anything new or original on their Black Market Activities debut CD, but for fans of modern, slightly deathcore-ish death metal extremity a la Whitechapel, As You Drown, Those Whose Lie Beneath and Through the Eyes of Dead, The Process of Human Extermination will satiate your needs.
Of note is that Fit For An Autopsy is the latest venture of marauding vocalist Nate Johnson (Deadwater Drowning, Premonitions of War, Through the Eyes of the Dead) as well as members of more obscure acts like Shattered Realm, Nothing Left to Mourn and At Rest. The album also features numerous guest appearances from the likes of Tim Williams (Vision Of Disorder, ex-bloodsimple) Guy Kozowyk (The Red Chord), Travis Richter (The Human Abstract) and Ray Mazzola (Full Blown Chaos). That in itself should get fans of ‘the scene’ pretty riled up, but as he does with everything he appears on, Johnson steals the show with his blast furnace bellows.
As I said in the opening paragraph, there’s nothing musically that makes The Process of Human Extermination stand out from other like-minded releases other than Johnson's vocals. The sound is tight, processed, hefty and full of fierce blasts and, of course, a few breakdowns. But as with the list of bands I also mentioned in the opening paragraph, the line between death metal and deathcore is bludgeoned into a bloody pulp.
Despite a concept based on The Book Of Revelations and the Four Horsemen of the Apocalypse, a concept that begs for an album of epic and varied proportions, The Process of Human Extermination is content to sandblast your ears for its duration. While the beat-down is enjoyable, there’s no single track or moment that pops up where I can say, “Hey, this is a Fit For an Autopsy track” when it randomly plays on my iPod. The only tracks that take their foot off the throttle for a little bit are “The Colonist”, “The Locust” and “The False Prophet”, where there’s just a little more emphasis on huge grooves as opposed to the sheer velocity of other tracks like “The Conqueror” (where Johnson grabs your attention by the throat from the get-go), “The Desecrator” and “The Wolf”. Ah heck, who am I kidding – the tangible difference between the tracks is minimal, as any of the ten tracks can come on and rip my face off and I wouldn’t be able to identify one from another.
Still, for a short, sharp, violent assault of modern death metal, Fit For An Autopsy is everything that fans of the style could hope for to tide them over till the next Whitechapel or Suicide Silence album.
