Wednesday, December 5, 2012

Track by track commentary of "Feast on Thyself" with Placentophagia

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.

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!

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.

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! Stay gross, motherfuckers.

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