This is the second post in a series, going into the minds of bands and finding out their thought processes and what their songs mean to them. This time around, we get to find how just how sick and twisted the band Placentophagia is with their EP, "Feast on Thyself." You can read my review here and also pick up this album here, as well as their very amazing shirts. Don't forget to check out their Facebook page and give them a like. I have also interviewed Placentophagia in a previous post, which you can read here.
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Charlie: I remember when Jay and I were in my basement
working on the framework for what now is PLACENTOPHAGIA. We had my walls
covered with ideas; musical direction, lyrical content, album concepts, etc. It
seemed pretty damn elaborate. Then we realized that we didn’t need to map any
of this shit out. We didn’t need a concept, or a vision for the band: we were
legitimately fucked up in the head and the natural process would be more
disturbing than anything pre-conceived. So, we scrapped the wall and just did
our normal, everyday thing.
1) FEAST ON
THYSELF
Jay: This track was written with the vision of a demonic infant
fighting for existence. The mother battling to kill it as it exits the womb and
enters the world. Written in first person, the opening verse depicts the
mother’s realization of her fate as the chorus leads you into her frantic
attempts to rectify the situation. During the FEAST ON THYSELF bridge, we made
it longer than usual so that the listener can think or create their own images
as to what they feel is going on in the song. This is also the final steps in
the demonic child’s birth finally tearing through the remainder of the mothers
stomach flesh. The battle between the demonic spawn (Charlie’s vocals) and the
mother is showcased in the third verse as vocals are alternated. The outro
reminds the listener of what just happened as the spawn eats the remains of the
mother. Take that, bitch!
2) CEREMONY OF
ATROPHY
Jay: As time passes, this rotting victim stretched out in all its
glory decays for the masses. This track is less detailed lyrically and adds a
slight religious experience to our everyday grotesque approach. The intense
instrumentals contradict the process of decomposition. We want to lead through
the final steps of decay; the beautiful arousing process that it is.
Charlie: This is actually the song that we’ve decided to record a
music video to. We start recording this craziness in the New Year! The idea
behind romanticizing the process of death and decay lends to a variety of
different images. Hopefully we can capture our collective interpretation of
that through the video. Musically, the song took on different styles within
styles, if you will. This was not intentional; just a naturally occurring
process and so, visually, we want to represent that in our typical, grotesque
manner.
3) FLESH FETISH
Jay: This track was inspired by Dexter’s Dark Passenger and his
acceleration as a vigilante murderer. The intro to the song along with the
immediate vocals is the clarity in his mind and the certainty of his actions.
There’s no second guessing when it comes to killing, and his reasons behind it.
The chorus lead the listener into a filthy yet organized kill room arranged
perfectly for any process of elimination seen fit. The second verse would
excite any sick fuck: a detailed account of a perfect murder, enhanced with
gory depictions and the killers personal thoughts. I wanted to share my love
for the character and his motivations by using the breakdown, if you will, to
give feeling to the slowing of the victims heart rate and becoming cold and
delirious, begging for life as they see their sins flash before their eyes. The
outro explicitly showcases their final resting spot and peace for all whom they
have caused pain and harm towards.
Charlie: This was the first song that I wrote for Placentophagia.
Basically, Jay and I wanted to jam, but did not know any of the same songs to
play to. So, I wrote this on the spot and the riffs/structure have remained
untouched. This is how all of the Placentophagia songs on this EP were written:
one-shot. I usually have a general idea, or feel for the direction of a song,
then I pick up my guitar, hit record on the device I’m using at the time,
play/improvise for whatever length I decide to go and then a new song is born.
I listen to the recordings afterwards, tab them out, and send it for the rest
of the boys to learn. That’s the process; very organic and natural – much like
Dexter’s proficiency for snuffing the life out of ‘dem bitches.
4) EMBRYOPHILE
Jay: This seems to be a fan favourite, for whatever sick &
twisted reason! The title for this song was given to the band by a friend of
mine on one of many drunken occasions. I let the word EMBRYOPHILE engulf my
previously distorted thoughts. The end result of this track lit a new fire
within me, which is sure to be known with new material currently in the works.
Charlie: True! The new material – from a lyrical and musical
perspective – is far more calculated and deviant than this EP. EMBRYOPHILE gave
us the motivation we needed to continue down the black hole of grotesquery.
Hah. What a pretentious, cunty thing to say...!
Jay: Embryophile is a tale of a truly sick bastard no longer content
with raping an innocent adolescent. He
begins to indulge in the most sinister of urges. His lust for an infant leaves
him with only one option. To obtain something so young he begins to kidnap
pregnant woman and hold them hostage until they give birth. His actions so vile
and his lust so strong he could not contain himself while awaiting the next
child to be born. As quickly as the track takes a turn into a manic frenzy, so
does the lyrics, as he begins to remove unborn and undeveloped fetuses from the
wombs of the captured. By the end of the track this pedo- turned – fetal
molester has now raped these women and raped his own offspring’s embryo.
Charlie: Nothing gets me harder than watching an Embryophile work his
magic.
5) CADAVER TO
THE UNBORN
Jay: A crazed and paranoid woman in fear of producing deformed,
mutated or unsatisfactory offspring begins an unrelenting collection of body
parts by any means necessary. She has specifics and favours certain attributes.
She’s currently in possession of an unwilling donor with many usable parts.
Precisely removing what she needs most. Sorting the mess and preserving the
organs and limbs as best she can. She has taken everything the Cadaver had to
offer and could give her.
Charlie: This song is fun to play live since there many different
dynamics and riffs that we don’t do in anything else. With slam riffs, melodic
hooks and a straight-forward death metal feel, Cadaver sits well in our
repertoire of songs that showcases what we’re all about musically. Ian’s guitar
solo at the end of the song is very unorthodox (which I love) and I think
really ads to the creep factor we wanted to convey.
Also, on the EP, we included a beautiful sample from the
movie, “SRPSKI”. We love watching the faces of people in a crowd when we cue
this sample live. We know that they know where it’s from...and if you
know...well...you know! Stay gross, motherfuckers.
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