Released: 2017, Dark Descent Records
Reviewer: Peter Atkinson
Despite being noted mostly for its crass stage names (Shit Eater, Pig Fucker, Archfiend DevilPig) and the ludicrously grotesque/retarded song titles (“Necrosqueal Pigfuck,” “Beaver Fucker,” “Eat My Vomit,” “Revenge Of The Booger”) from their early demos, Greece’s Necrovorous have managed to stick around and carry on for more than a decade.
And while Pig Fucker may now be long gone - he didn’t hang long enough to play on the band’s 2011 full-length debut Funeral for the Sane - and the song titles aren’t nearly so ridiculous, Necrovorous are back with their second full-length of gnarly, squalid death metal. Though six years have passed since the debut, the band – a trio now of guitarist/vocalist Kostas K. (aka Archfiend DevilPig), drummer Vangelis F. (aka Shit Eater) and guitarist/bassist Marios P. (no nickname, apparently) – pick up pretty much where they left off, with Marios P. being the most notable new ingredient.
Plains Of Decay is raw, dirty and defiantly simple, with fistfuls of chugging chords played at varying velocities, recalling vintage Autopsy or very early Celtic Frost/Hellhammer - but without the grandiosity or conceit. These guys definitely don’t seem that interested in the technical side of death metal, aiming instead for the gut – though the guitar leads are great, so it would seem Marios P. was a good get.
Still, Necrovorous have grown more clever – or at least less low-brow - with time. The juvenility that reigned back in the day appears to be gone – save for the stage names. And there is an undeniable catchiness to their no-frills approach, as songs like the title track, “The Sun Has Risen In A Land I No Longer See” and “Cherish The Supulture” are generally tight and punchy. The band also show some surprising depth with the hardcore beatdown of the 59-second “Red Moon Rabies” and the impressively intricate black-metal flourishes on “Misery Loves Dead Company.”
The longer “Eternal Soulmates” and the instrumental “Lost In A Burning Charnel Ground” tend to drag without more flash to liven things up. The finale “The Noose Tightens” does so as well, at least at the front and back. A d-beat flurry and wicked solo mid-song hint at sending the song – and album - out on a high-note, but sadly peter out and it slogs to a close. Too bad.