Fulci – Duck Face Killings Review

[Cover artwork by Wes Benscoter]

If it walks like a duck…quacks like a duck…and riffs(?) like a duck… it’s probably…

Fulci!

Born June 17, 1927, in Rome, Italy, Lucio Fulci spent 69 years on this Earth but left an eternal blood mark on the spirit of horror cinema. Fulci became synonymous with pushing the boundaries of the genre—which occasionally led to his films being outlawed in various areas around the globe—but simultaneously gained a substantial cult following. From the iconic “Gates of Hell” trilogy, including City of the Living Dead, The Beyond, and The House by the Cemetery, to the iconic Zombi 2 and today’s topic of discussion, The New York Ripper, Fulci’s depictions of violence and terror were unmatched. Viewer discretion is advised for newcomers to The Godfather of Gore’s universe.

In recent years, the Italian quintet Fulci has torn through the underground music soil with their living dead hands—riddled with necrosis and pus-filled sores, of course—capitalizing on the director’s already present cult following. The appropriately named death metal band now comprises Dome Diego and Ando Ferraiulo on guitars, Klem Diglio on bass, Edo Nicoloso on drums, and Fiore Stravino on vocals. Fulci—THE BAND!—released Opening the Hell Gates (inspired by City of the Living Dead), in 2017. Then, they released Tropical Sun (inspired by Zombi 2) in 2019, Exhumed Information (inspired by Voices from Beyond) in 2021, and now Duck Face Killings (inspired by The New York Ripper). I don’t have time to give you a synopsis of each movie…so watch them! You’ll be glad you did. They’re great. However, for today’s review, The New York Ripper follows a detective and psychoanalyst searching for a vicious serial killer known for his duck-like voice and preference for switchblades and straight razors.

What makes each Fulci album unique is how they capture the essence of what made the Godfather of Gore’s movies so memorable. Sampling scenes and dialogue from his pictures, these Fulci albums create the same unnerving and grotesque atmosphere as their respective films. Of course, you’ll catch similar vibes to those early Mortician albums, which might be one of the more common assessments for the project. If Duck Face Killings happens to be your introduction to Fulci, think of it as a score within a score, essentially starting with “Vile Butchery” setting the tone with an exposition scene from The New York Ripper before being hammered with Diego’s Dying Fetus-inspired riffage, which pops up again on songs like “Morbid Lust” and “Maniac Unleashed.” There are also nods to early Cannibal Corpse, most notably with an homage to “Hammer Smashed Face” on “Rotten Apple.”

But where the record truly separates itself from many horror movie-themed death metal bands is the ability to hit each of the five senses. Much like The New York Ripper film, you can hear, taste, smell, see, and touch the grimness. Like a toxic, purple smog rolling in under New York streetlights, Duck Face Killings prowls for roughly a half-hour. Again, much of that comes down to the sampling and synths (courtesy of TV-CRIMES, Dressel Amorosi, and Giacomo Carloni), but there’s a touch to those moments and their positioning within the album that adds depth. Look no further than the “A Blade in the Dark” and “Lo Squartatore” interludes. And while it lurks in the shadows, the album is also pummeling, specifically on the brutal death metal standout “Human Scalp Collection,” featuring none other than Wood of Skinless, which would fit on something like Trample the Weak, Hurdle the Dead. Then, there are slam moments, for example, on the title track. In the coolest way possible, it’s like being beaten over the head continuously with a pillowcase filled with rubber ducks.

I’d be remiss if I didn’t mention a moment that will undoubtedly stick out: “Knife.” It features a few bars from Lord Goat of the hip-hop group Non Phixion before diving into some more atmospheric death metal. As a lifelong fan of the hip-hop genre, I must say I’m not always the most enormous enthusiast when it comes to the genres meshing, but this was done quite well. There’s also the saxophone on “II Miele Del Diavolo,” courtesy of Mario Luce. Each of these moments is memorable for all the right reasons. They bring substance to the album and come across as meticulous and thought-out rather than just being thrown together. That’s what I appreciate about Fulci—the attention to detail.

Duck Face Killings will put a devilish smirk on the faces of horror and death metal fiends alike. Concept records are no simple feat and are easy to fumble completely. However, the sickos in Fulci would make their gore godfather proud with this one. Looking for fun in the tropical sun? Look elsewhere. Looking for an eerie, tooth-grinding, unsettling, badass death metal album? Look here.