Originally written by Ian Duncan-Brown.
Ah, Prostitute Disfigurement. When one hears a band name like that, one might think, “I bet their merchandise doesn’t sell too well,” or “I bet they suck and all they have going for them is their name.” Prostitute Disfigurement aren’t quite what you had expected. They play powerful, swift death metal with heavy thrash influences. According to a fellow I once spoke with, the lead guitarist from this Dutch outfit plays in a Megadeth tribute band. It’s believable – his highly technical solos are very cunning and make this disc all the more enjoyable. This is a very, very good album; the riffs are catchy as hell and quite off the wall, and we get to hear that perfect fusion of drums and guitars which always sounds so great. With some piggish vocals on top of it all, which, judging by the song titles, are not about the fine points of esoteric philosophies, but are rather focused on the, uh, anatomical side of things, you can’t go wrong with Left in a Grisly Fashion.
As noted, this ain’t goregrind, though there are certainly some grind elements going into the equation. No, this is primarily death/thrash, and the inventive riffs don’t keep to the lower strings or frets. Sort of like Dying Fetus (though the bands are dissimilar musically), Prostitute Disfigurement are a band with a very silly name but a dead serious musical approach. Don’t expect breakdowns or other niceties, for the boys in this band are content to keep up a frenetic pace throughout the recording. There are plenty of bouncing rhythms and the whole thing is thoroughly catchy, however. I can hear quite a lot of depth to the songwriting, and there are tempo changes galore. Mainly, it’s the riffs that keep this so enjoyable. There is traditional, chromatic death metal stuff, and then the more thrash-oriented galloping riffs. Left in a Grisly Fashion is a triumph of excellent writing. Surprisingly, there aren’t really a whole lot of samples, except for the track “In Death’s Decay,” which is just an interlude that leads up to the frenzied anger of “Bloodlust Redemption.”
The musicianship is impeccable. The band’s drummer is amazing, and he has to be, considering that he replaced a drum machine. The two guitarists are extremely skillful. I don’t know if both or just one of them plays the leads, but those are very good. Some lean towards the melodic side of things, but more often they do not. The best comparison for the solos would be to labelmates Visceral Bleeding, who also play wacky solos which aren’t melodic in construction, but are clearly well thought out and musical. An example of one of the more aurally pleasing ones from this disc is the lead on “Disemboweled.” In this genre, the guitarists are often not particularly good, and the sound is dominated by the drummer. On Left in a Grisly Fashion, this is not the case. The guitar parts are dynamic and captivating. The bass mostly follows the guitar, and does so in a more than adequate fashion.
The production on this release is outstanding. On the whole, there is an incredible amount of force and thickness to the sound, though the necessary razor-sharp edge is maintained. The drum sound is great, striking a good balance between the two extremes, these being an overly obtrusive, “live” sound, and one of those wretched, clicky digital jobs. Some people might complain that the vocals are recorded badly, though I think their sound comes more from the technique being used by the vocalist than by the method used to record them.
This release is highly recommended. If you like thrashy, fast death metal, you need this album. Forget about the silly name, and judge Prostitute Disfigurement by the music alone. You won’t be disappointed. I used to think that bands were pissing into the wind by setting offensive lyrics to quality music, but now I realize that this is the way to go about establishing the correct atmosphere. Left in a Grisly Fashion is a sleazy, grotesque masterpiece.