Autopsy "Mental Funeral" (Peaceville Records 1991)

Lista de canciones
1. Twisted Mass of Burnt Decay - 02:15
2. In the Grip of Winter - 04:08
3. Fleshcrawl - 00:36
4. Torn from the Womb - 03:19
5. Slaughterday - 04:04
6. Dead - 03:18
7. Robbing the Grave - 04:20
8. Hole in the Head - 06:03
9. Destined to Fester - 04:34
10. Bonesaw - 00:45
11. Dark Crusade - 03:55
12. Mental Funeral - 00:37

We took two long strides from our time towards the 90's, not to discover -Because there is nothing to look for, nor that has been lost- but to return to the most gross and extreme origins, to the origins of this untimely music as it is that of Death Metal, that music that has, completely, configured the paradigms of the extreme, the gross, and from time to time, the bizarre, surpassing itself, always. Well, the most exuberant mixes have been fused with Death Metal, which by extension has taken elements from others and not so alien to its essence, making it increasingly thunderous, slow or ominous; and for many other times he has managed to surrender in his repetitive and exhaustive technique, counted the cases, leaving the style in minutia for some period of time. One never has to forget the groups of yesteryear, since they, not primarily because they were the first, had to stop in no-man's land and start building an entire world, a world that was far from the then-well-known technique of tupa- tupa del Thrash, where the Death Metal genre itself would summon for itself a series of more de-structuralized compositional elements, constancy that would break with the logical order that the rigorous prosaic and Methodist compositions of the "Introduction + verse + chorus + verse + chorus + bridge + solo + verse + chorus + final "traditional structures that were still in the Thrash, and whose more prospective origins go back to the time of Rock 'n' Roll.

Go slapped the one who hit the Death Metal to the ends of the extreme musical universe.

And for more, we must bear in mind that these bands of both the first and the second litter, at the expense of the comatose Thrash who had already hung the gloves, began to win the new Undergorund of metal. The metal of death was, then, a genre already consolidated in the 90's, the bases and strata were already well seated, techniques at the guitar level as well as aesthetics, themes, ethics and proposal-performance in general, they already spoke by themselves of the genre. That same originates the most varied alignments of the nineties, at the same time astonishing the Black Metal monster that was approaching in that decade, of course I speak of the Norwegian surge, but let's not let the movement go unnoticed. 80's of this same style; but that, friends, is another story that, sincerely, does not concern us today.

The band captained by the alabaster Chris Reifert since 1987, where a model of that same year would begin to concentrate attention between the longhairs of the time. But it would not be until his debut, the stentorian and ruffian as classic 'Severed Survival' (1989) album wherever they are, as one of the huge and rebellious poisoned wells of the last stay of the eighties. Said album, proposed that utopia that the bassists of Thrash Metal longed for: to play with sovereign and flat freedom, moving away from the alibis of inventiveness or the limitations for their instrument; because the thrash neglected that aspect that the Death's new bass players increased towards their last power, or as we would say: towards their wide ones. That element that announced that the bass was not only a resource to channel the little melody of the thrasheristic compositions of the guitars with the rhythmic section. Somehow the vision that could be awarded, especially to Steve DiGiorgio for belonging to one of the albums that cemented this no man's land, is to change the work of the bass doing it, given by the irregular and unsettling compositional structures, a instrument as transcendental and valuable as the guitar; to that we add the invaluable and supraterrenal virtuosity of Mr. DiGiorgio.

Unfortunately in Autopsy his weak point in all his discography would be that of not having a stable bassist, a problem that would later bring about his brief separation; and the truth is that it is a very heavy inconvenience that has affected the band for a long time. And one thing I will assure you here, and that is that the somewhat phenomenological questions about "having been different" are mere - how Woody Allen would say - mental masturbations. They do not pay or reduce. Well the new bass player for 'Mental Funeral' obviously would not have the histrionic ability, but I give faith, by explicit, that the sound temporizes in a coherent and habitual way in a remarkable evolution (I have not said better)

The similarities with Death, for the second Autopsy plate, would be reduced for life. In any case, we no longer have the asphyxiating and exciting atmosphere of a Bloody Gore-Leprosy Scream, much less those remnants inherited, of course, from an irrefutable motor and wisdom of Chuck Schuldiner towards a Reifert. And is that Reifert was not only the pupil of Chuck, after the departure of this first, Autopsy, although many ignore say that it mimics his sound, would handle a similar style of Death.