Hailing from the United Kingdom, Amputated formed in 2002, and since then hasn’t gained much steam within the Death Metal community. They hit the ground with a split release in 2004, followed by their Live Amputation! DVD a year later. It wasn’t until 2006 that they issued the debut full-length album, Gargling with Infected Semen, which wasn’t that well received. 2009 was a better year for them, finding a little more success with their follow-up album Wading Through Rancid Offal, following with a the Live at Mountains of Death 2011 album in 2013. Now the band sets their sights on pummelling us with their third full-length release Dissect, Molest, Ingest. Will it be another solid entry, or is it a far less experience compared to their last studio outing?

“Body of Work” is your traditional Death Metal introduction of news reports about murders over the radio, static filling the gaps when the station changes, ending on an audio sample about a killer having sex with his victim’s dead bodies. These samples also wrap up the end of the release after the rather standard performance of “Toolbox Abortionist.” The samples carry into “Gorging on Putrid Discharge,” a groove heavy slab of brutality that bludgeons away with deeper distortions and infectious rhythms. There are spurts of early Kataklysm speed, as well as your share of slam breakdowns, though during this cut they can act more like bridges until the very end. Sadly it’s not until “Psycotropic Suicide” you get another song as intense. After a brief Horror movie audio sample, blistering drums and guitar work kick in, giving way for a brief few seconds of a bass solo early on. The guttural vocals are met with additional rasps through much of the song, including the slam about half way through that allows the bass come through the mix a little stronger with authority.

Thankfully the adrenaline can be felt on “When Whores Meet Saws.” The turning on this one seems a bit deeper, making the hostility a lot more dominant when the pace picks up later. The main verses go at a mid-tempo pace with a simple enough groove behind them. The best is the build about a minute and fifteen seconds in, making the bridge to some blast beats in the drums that sound completely inhuman. In fact it would be really surprising if triggers weren’t used specifically for that little fit. “Dissect Molest Ingest” is also worth mentioning largely due to its execution. The track hammers away with a steady pace. While not too fast, the drumming really maintains a nice amount of speed against technical guitar work. it’s a highly abrasive mixture that seamlessly shifts in and out of rich, punishing grooves that only get better the closer you get to the end, stirring up warm memories of early Six Feet Under head banging violence to the point where it starts going over-the-top a bit at the end.

And then there’s “Infanticidal Dysmorphia,” which immediately sounds restrained, which isn’t that bad a thing. It’s a rather simple track most of the time, carrying a simple groove that sounds moderately oppressive. About two minutes in, the consistency gives way to madness, picking up speed and hammering away with fast paced riffs and a sudden jolt of energy. The slam towards the end, however, feels shoehorned. While not bad, it ultimately is just pointless, offering very little to the song at all. The same goes for the rather unimpressive “The Local Flavour” and “Six Feet Under,” though this one is a little more memorable. It relies on the music being rather creepy when it isn’t focuses solely on chugging and standard growls until about two-and-a-half minutes in when a subtle shift brings in a little more groove on par with early Cannibal Corpse at a mid-tempo pace.

Dissect, Molest, Ingest is nothing more than a mixture of bands like Dying Fetus, Six Feet Under, and your choice of semi-technical Death Metal bands. But this doesn’t mean it’s a generic waste of time. Amputation clearly don’t bring the most original album to life, but it’s impossible not to bang your head along to each blood soaked performance here with the exception of “The Local Flavour.” Of course, this is a release that not only is a great spin from the studio, but also shows a band that, if performed anywhere near as well in person as they are here, you wouldn’t want to miss live if given the opportunity.

Digital review copy of this release provided by Sevared Records via Killshot PR.