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THE METAL OBSERVER - Review - LIVIDITY - Used, Abused And Left For Dead

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Lividity - Used, Abused And Left For Dead (4/10) - USA - 2006

Genre: Death Metal
Label: Epitomite Productions
Playing time: 37:47
Band homepage: Lividity


  1. Raped For Rent
  2. Gore Epitomite
  3. Seven19
  4. Deviant Pleasures >mp3
  5. The Cumming Of The Trilogy (Pussy Lover pt. 3)
  6. Exhibition Of Carnage
  7. Used, Abused, And Left For Dead >mp3
  8. Hero Of Dementia
  9. No Time For Lube >mp3
  10. Stench Of Virginity (Sonic Version)
  11. The Urge To Splurge
  12. Bound In Skin
  13. Phallic Beat Down
Lividity - Used, Abused And Left For Dead

LIVIDITY attempt to cut swathes through the post-SUFFOCATION infused Death Metal waters, more often than not finding themselves completely inundated and constantly choking upon their own frothing swell. The oft imitated sound consists of gritty riffing overshadowed by constant rhythmic battering and spastic vocal churning. The end product is more than bland due to the fact that we’ve heard this hundreds of times before coupled with the complete lack of interesting riffing. Every once in awhile a nice lead will pop out of the mix before the drums take charge and a bland riff attempts to satisfy. The ultimate failure is lack of diversity and identity.


Besides the incessant sampling interfering with the flow of several tracks and the inane lyrics which breed middle school intelligence, the songs are completely overshadowed by Jordan Varela’s horribly triggered bass drums. They sound completely sterile and the plastic rolls leave me completely lifeless in the worst of ways. I would of heavily preferred Jordan taking a bit of a back-seat like bassist Chris Campbell who can always be depicted but is not attempting to overshadow Dave Kibler and Von Young behind the axes.


Even with the aforementioned problems, “Used, Abused, And Left For Dead” lacks definite substance in the riff department. This is the single most important facet when it comes to brutal Death Metal as it is one of the few opportunities in which you’re afforded to distance yourself from that of your peers. ANATA and ORIGIN did not make a bang by burying their instruments and simply hitting you with a wall of sound which can loosely be labeled as “brutality”. It is not difficult to create a devastating cacophony of lethal noise; it is difficult when one realizes that there is much more to music than simply sounding evil. 


That lack of substance is what ultimately kills this experience. You can rock the stage all you want singing about rape and beating down the elderly with your prostate, but you simply will not be remembered. I want steak and potatoes, not a Snickers bar. Offer substance and integrity and listeners will follow, it really is that simple.

(Online December 8, 2006)

Charles Theel

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