Genre: Death/Doom Metal | Label: Grindmind Records
Location: Tokyo, Japan| Listen: YouTube
Back in 2007, Japanese death/doomers Coffins were exploding in the underground, hot of the heels of their sophomore album, “The Other Side of Blasphemy.” Before releasing their third LP, they released a string of splits, including a three way split with two other Tokyo based death/doom bands. I bought this CD solely because of Coffins, but came to love the entire hour long duration. Anatomia and Grudge both brought complementary yet unique approaches to death/doom for their contributions to this split. Each band brings about 20 minutes of material, thus giving a nice representation of each, but a fully digestible amount at that.
Anatomia opens up the split with five tracks of Autopsy worship. This was only their third release at the time, and also my introduction to the band. While preparing to review this split, I ended up listening to their full lengths, and unsurprisingly, it has the most in common with their debut album. Simply put, there is a huge emphasis on the slower side of Autopsy here, complete with the same type of drum beats and riffs that established the seminal death metal band’s sound. There’s even some punkier midpaced parts like on “Necrocannibal Instinct” that reek of Autopsy too. The vocals are low and dark, and backed by a massively heavy guitar tone. The drums sound like they were recorded with a focus on a natural room sound, which gives these tracks a certain rawness, but that works well with the Autopsy influence.
The most mysterious band of the split, Grudge, appears in the middle. This was also my introduction to the band, and as far as I can tell, Grudge had previously released more grindcore oriented material prior to this. As a result, remnants of grindcore can be found all over their four tracks, but they are clearly aiming to play death/doom with these songs. To my ear, Winter sounds like the main influence for their death/doom approach, as they pound away and low tuned Celtic Frost riffs with similar feel punky feel, and dive into slow sections in the same vein as well. However, they throw in a healthy amount of sloppy blast beats, and utilize plenty of vocal styles that have Agathocles written all over it, especially some of the more drawn out “moaning” ones. The result is fairly unique, and the Agathocles influence is further pushed by the raw and heavy production.
Finally, Coffins closes out this split with three original tracks plus an Asphyx cover. As previously mentioned, Coffins had already released a couple full lengths, and put out three other splits the same year as this one. I always felt that Coffins were at their best around this period of time, and they struck a great balance between slower, crushing songs, and more energetic d-beat songs. “Cremated Remains” falls into the former, while “Stillbirth” is a straight forward example of the latter, really driving itself with a nice d-beat pace. The addition of the Asphyx cover is also great, and Coffins always seems to have excellent selection when it comes to cover tracks. There are no surprises here, just infectiously catchy and pounding death/doom.
Every time I decide to revisit this split, I’m always satisfied with it. Despite its length, it’s the perfect amount of time to showcase three bands playing the genre but with totally different approaches. Anatomia’s Autopsy worship is on full force here, and they’ve since gone on to have quite a successful career since, releasing a respectable amount of splits in addition to some full lengths on better known labels. Grudge hasn’t released anything since, making their grinding death/doom performance on here a standout in their small discography. Coffins, of course, has remained active over the years with many more releases, and this is one of many that cemented my fandom for them back in the mid/late 2000’s with their signature brand of d-beat laden death/doom. “Doomed to Death, Damned in Hell” is a choice split, and shouldn’t be lost in the shuffle of both Coffins and Anatomia’s large discographies.