Vomitizer – Release the Rats Review

By Mark Z.

I’m this site’s resident “vomit” guy. I didn’t choose this life, it chose me. Nonetheless, I take my duties seriously, and when I see a band in the promo bin with “vomit” in the name, I know I have to review it (even if I’m a fucking week late in doing so). So it was with Vomitrot, so it was with the bands before them, and so it is with Vomitizer. Formed in 2023, this dirty Norwegian group bring with them experience in many other metal bands I’ve never heard of, including Chton, Corroder, Cleaver, and Ghetto Ghouls. Release the Rats is the band’s debut album and is described as “a concept album telling an apocalyptic story about how the world rots through fanatics, pestilence and the pure evil of mankind.” I question the need to even listen to this record given that this “story” seems to just be everyday life these days, but such are my solemn duties as this site’s designated vomit scholar. Fortunately, while Vomitizer deliver the nastiness you’d expect from their name, they also offer a few surprises that make for a decent little romp through the filth of the world.

At its core, Release the Rats is a death metal album, though Vomitizer often incorporate ideas that cause this putrid pile to ooze over stylistic borders. The ragged, chunky riffs that serve as the album’s building blocks remind me of a certain thrower of bolts, while the manic, phlegmy rasp of vocalist “PeTerror” likewise feels most firmly rooted in the death metal genre. Yet atop this foundation, you have more atypical moments, like the sharp clean picking that appears in the chorus of the opener, “A Wonderful World to Destroy,” and the verses of the second track, “Rat Religion.” Both “Rat Religion” and a later highlight, “Something Dark and Bloody Did Indeed Occur,” also venture even further from the metal of death, incorporating frostier progressions that evoke the blackened spirit of Immortal’s Sons of Northern Darkness.

Though the sound is raw and unkempt, Vomitizer’s ability to craft direct and memorable songs causes them to be successful regardless of exactly what style they’re playing. “The Church of Rats” slows things to a more shambling pace early in the runtime, yet the switchup feels entirely welcome at that point in the album, and the song’s big, dominant chords ultimately make for a solid tune. Later, “The Reek of Death” again slows things down but takes a sludgier approach in doing so, sounding like what would probably happen if Bolt Thrower drank Eyehategod’s bath water. Perhaps the oddest switchup comes in “Indulge into Chaos,” which features gruff, semi-clean vocals that sound something like Crowbar. Through it all, the band have a snotty, anything-goes attitude that’s hard not to find at least somewhat endearing.

Though nothing here is bad, the album is hampered a bit by a lack of consistency. After opening with three of its strongest songs, the record immediately gives us some of its weakest. Compared to the opening cuts, “Pestilence (the Sickness)” is much shorter and feels like it could have used more time in the incubator. “Rattus Rittualis” is also a misstep. The two-minute song is essentially an extended buildup, making it sound more like an album intro that was accidentally placed as the fourth track. Later, “Raw Meat” barrels forward with lots of energy but little impact. Through it all, the production gets the job done, with an unpolished sound that presents everything clearly without doing anything special. Fortunately, the closer, “Wicked Supremacy,” ends things in a strong fashion, with its groaning tremolos and catchy chugs coming the closest to evoking the trve glory of Bolt Thrower.

Ultimately, Release the Rats sounds like one of those fun little records that you randomly discover years after its release and are happy you did so, even if it doesn’t quite rise to the level of “hidden gem.” I appreciate the album’s memorability, diversity, and quality riffs, but the occasionally undercooked compositions hold it back a bit. Nonetheless, even if Vomitizer seem more obsessed with rodents than retching up last night’s dinner, they’re still more than worthy of the “vomit” name, and those looking for an eclectic and enjoyable batch of extreme metal tunes could find far worse ways to spend 34 minutes.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 128 kbps mp3
Label: Undercover Records
Websites: Facebook | instagram.com/vomitizerofficial
Releases Worldwide: April 25th, 2025

#2025 #30 #Apr25 #BlackMetal #BoltThrower #Chton #Cleaver #Corroder #Crowbar #DeathMetal #Eyehategod #GhettoGhouls #Immortal #NorwegianMetal #ReleaseTheRats #Review #Reviews #UndercoverRecords #Vomitizer #Vomitrot

Vomitrot – Emetic Imprecations Review

By Mark Z.

Somewhere along the way I got pegged as this website’s “vomit” guy, and I can’t say I’m bothered by that. Seeing the word “vomit” in a band name tells you absolutely nothing about whether the music will be good or bad, but it does tell you that what you’re about to hear will probably be fukkin nasty. And that’s exactly the way I like my music. Thus, when I learned a band called Vomitrot had an album in our promo bin, I couldn’t wait to get my grubby little paws on it. Formed in 2019 by members with experience in the funeral doom band Gravkväde, this Swedish trio first spewed their filth upon the world with a 2020 demo before retching up their debut album, 2022’s Rotten Vomit. Somehow my trusty vomit detector didn’t pick up on that record, but with song titles like “Apex Vomit,” “Upheaval of Vomit,” “Rotten Vomit,” and “Bludgeoned by Puke,” you can bet your ass I enjoyed that album. With second album Emetic Imprecations, the band have apparently cut down on their dinner portions, as this puke pile consists of a mere six tracks in just under twenty-six minutes. But is this foul expulsion still worth your bile?

With a bludgeoning approach and a dense amalgamation of surprisingly varied riffs, Emetic Imprecations treads an interesting line between war metal and death metal. The group roughly sound like they were crafted in the same factory as Antichrist Siege Machine, only before they reached the end of the assembly line, some poor underpaid worker lost his lunch all over the components. Unsurprisingly, the result is dirty, disgusting, and utterly unconcerned with whether you enjoy it or not. Opener “Envomited” fittingly begins with a sample of someone puking before erupting into a shitstorm of hammering blast beats, belligerent riffs, lurching chugs, garbled growls, and even a brief bout of squawking notes that recalls Concrete Winds. It all sounds like a vat of vomit churning itself into sentience, and things only get better from here.

Imprecations works because it knows how to keep things engaging. The songs frequently shift between ideas but rarely feel overstuffed, and while the music is relentlessly heavy, the use of different tempos and riffing styles results in plenty of notable moments. Second track “Emtophilic Cro-Magnon” employs rushing black metal riffs as a counterpoint to the more visceral assault of its predecessor, while “Odious Fetid Aberrations” invokes its inner Incantation with tremolo riffs that alternately swirl and strain for the heavens. “Heinous Sulphuric Phlegm” opts for a more punishing approach, beating the listener into submission with bouts of fast lockstep chugs before collapsing into a segment that could pass for slam. Both guitarist “Rotted Vomitor” and bassist “Vomitroth” contribute vocals, and the two ensure everything remains suitably vile and barbaric with their gurgling rasps and monstrous growls. Combined with the hostile and pounding drums, the overall effect is like being caught in the middle of an epic war between rival Neanderthal clans.

My biggest complaints about Imprecations are essentially quibbles. The aforementioned opener “Envomited” feels like it crams a few too many ideas into its three-minute runtime, and the album slows down a bit too much in its back half. In particular, closer “Vomitous Execrations” feels like it needs a few more blast beats to give the record the explosive ending it needs, even if its sharp recurring motif works well overall. Fortunately, the production is great, with a thick cavernous sound that retains more than enough dynamic range to let the riffs breathe.

Emetic Imprecations is a real treat. On paper, this album seems like it should have the IQ of a caveman; in actuality, the record’s primitive pummeling comes via some unexpectedly complex compositions. The result is an album that gets in, hurls all over you, and leaves you dripping in disgust as you sort through all the various bits and pieces that have just been coughed up. Fans of Infernal Coil and Of Feather and Bone will likely eat this up, as will those who like war metal that oozes with the primal aggression of bands like Caveman Cult. Vomitrot is a young group, but with Imprecations, they’ve easily joined the hallowed ranks of artists like Vomitor, Slutvomit, Witch Vomit, Anal Vomit, Death Vomit, Funeral Vomit, and Vomitheist. Get ready to retch, and hail the fukkin vomit!

Rating: 4.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Websites: vomitrot.bandcamp.com | facebook.com/vomitrot
Releases Worldwide: August 24th, 2024

#2024 #40 #AnalVomit #AntichristSiegeMachine #Aug24 #BlackMetal #CavemanCult #ConcreteWinds #DeathMetal #DeathVomit #EmeticImprecations #FuneralVomit #Gravkväde #Incantation #InfernalCoil #OfFeatherAndBone #PersonalRecords #Review #Reviews #Slutvomit #SwedishMetal #Vomitheist #Vomitor #Vomitrot #WitchVomit