Castrator – Defiled in Oblivion
Release Date: 22nd July 2022
Label: Dark Descent Records
Bandcamp
Genre: Death Metal
FFO: Cannibal Corpse, Deicide, Incantation, Immolation.
Review By: Rick Farley
This year has already produced some stellar old school death metal records. You can easily find your fix of any classic band that’s ever released an album in the eighties or early nineties, with a large number of modern bands currently trying to recreate that sound. There’s a certain amount of nostalgia that carries a lot of these bands further than it should. Occasionally, though, you’ll come across a release worthy of your attention simply by its authenticity. One band in particular right now that’s keeping it real, raw, brutal, and violent, with a no fucks given attitude, just the way it once was. New York based death metal four-piece, Castrator are releasing their highly anticipated debut full length, Defiled in Oblivion on Dark Descent Records. After releasing a cold-blooded warning shot in the form of the excellent No Victim EP seven years ago, it’s safe to say the band was long overdue to crush some fucking skulls together. This is old school influenced pure, ugly American no frills death metal. An unrelenting assault of rapid-fire riffing, blood swilling solos, powerful drumming, and raspy gutturals straight from hell.
Defiled in Oblivion is full of chunky grooving riffs followed up by frenzied tremolo picked, and ferocious palm muted thrash fests. Guitarist Kimberly Orellana crushes riff after riff with ease, often leading to Slayer worship style whammy solos, but only better executed and well-thought-out. The riffs go from kill on command speed to furious mosh pit and headbanging, neck break inducing metallic grooves. The production on the guitars sound ferocious, with some serious edgy bite. Robin Mazen’s (Derkèta, Gruesome) bass work is smooth and gives thick low end to the record. Robin is such an amazing bass player; I wish you could hear the clarity a little better in her playing rather than just providing the beastly lows, production wise. However, the one, two punch of guitars and bass is quite effective, leaning towards being fucking brutal and punishing. Unrelenting, intense double bass, ruthless fills, and intricate percussion by Carolina Perez (Hypoxia) sets the tone for a constant barrage of rhythmic aggression. The bass drum could be a litter louder in the mix and sounds a tad thin but very minor gripes for such a quality throwback to old school death metal as it should be, pure savage and raw energy. Vocalist, Clarissa Badini (Vicious Blade) belts out sick gutturals growls and harsh shrieks like a hellish demon. She has tremendous control over her vocals, easily moving from lows to highs. Her vocal performance is top-notch and, much like the guitar riffs, is a major high point of Castrator’s sound. As a whole, the band sounds pissed off, venomous and precise. It’s relentless bludgeoning and ugly as fuck in the best possible way.
This album, simply put, is a seething head bashing, hellish ride towards the glory days of death metal. The record sounds warm but maintains an attacking rawness that feels appropriate to the brutish music. It’s not going to win any awards in production value, but honestly who the fuck really cares, this is sickening and violent death metal. One minor complaint I do have, is while the band does a fantastic job with closing track and cover song Countess Bathory by Venom, it takes you out of the heavy and merciless vibe put forth by the first nine tracks. In the end, though, Castrator is brutal and technical enough to hang with any band today and familiar enough to give you some sweet reminiscing of ass kicking classic death metal attitude. Defiled in Oblivion should easily put these ladies at the forefront of death metals elite, with excellent song writing mixed with sheer ferocity. A release to be reckoned with. Boys club beware! 
(4 / 5)
