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Carcass β€” Reek of Putrefaction

  • intothewellsabyss
  • Jul 28, 2023
  • 3 min read

π…π‘πŽπŒ 𝐓𝐇𝐄 π‚π‘π˜ππ“π’ - π‚π„π‹π„ππ‘π€π“πˆππ† 𝐏𝐀𝐒𝐓 π€π‹ππ”πŒ 𝐑𝐄𝐋𝐄𝐀𝐒𝐄𝐒 𝐒𝐧 𝐭𝐑𝐞 π‡πˆπ’π“πŽπ‘π˜ 𝐨𝐟  𝐇𝐀𝐑𝐃 π‘πŽπ‚πŠ & π‡π„π€π•π˜ πŒπ„π“π€π‹β€¦



July 28, 1988 β€” Carcass released their debut full-length studio album, Reek of Putrefaction via Earache Records (Combat Records in the US). (Apple Music or Spotify)



Background:

When released, Reek of Putrefaction reached No. 6 on the UK Indie Chart, establishing Carcass as one of the pioneers of the Grindcore genre. The late BBC Radio 1 DJ John Peel declared it his favorite album of 1988, in an interview for British newspaper The Observer. Guitarist/vocalist Bill Steer retrospectively said that "πšƒπš‘πšŽ πšπš’πš›πšœπš πšŠπš•πš‹πšžπš– πš πšŠπšœπš—β€™πš πšŸπšŽπš›πš’ 𝚏𝚘𝚌𝚞𝚜𝚎𝚍, πš’πš 𝚠𝚊𝚜 πš“πšžπšœπš πšŠπš‹πš˜πšžπš πš‹πšŽπš’πš—πš 𝚏𝚊𝚜𝚝 πšŠπš—πš πš‘πšŽπšŠπšŸπš’β€¦".



He went on to say that the band didn’t intend the muddy sound present throughout the album:

"πšƒπš‘πšŽ πšπš’πš›πšœπš πš˜πš—πšŽ πš˜πš‹πšŸπš’πš˜πšžπšœπš•πš’ πš’πšœ 𝚊 πšŒπš›πšŠπš£πš’ πšŠπšŒπšŒπš’πšπšŽπš—πš. π™Έπšβ€™πšœ 𝚐𝚘𝚝 𝚊 πšœπš–πšŠπš•πš• πšπš˜πš•πš•πš˜πš πš’πš—πš πš‹πšžπš 𝚠𝚎 πšπš’πš πš—πš˜πš πš’πš—πšπšŽπš—πš 𝚝𝚘 πš–πšŠπš”πšŽ πšπš‘πšŠπš πš›πšŽπšŒπš˜πš›πš πšπš‘πšŽ πšπš‘πš’πš—πš πšπš‘πšŠπš πš™πšŽπš˜πš™πš•πšŽ πš‘πšŽπšŠπš› πš—πš˜πš . πš†πšŽ πš‘πšŠπš πšπš’πšπšπšŽπš›πšŽπš—πš πš’πšπšŽπšŠπšœ πšŠπš—πš 𝚠𝚎 πš“πšžπšœπš πšŒπš˜πšžπš•πšπš—β€™πš 𝚎𝚑𝚎𝚌𝚞𝚝𝚎 πšπš‘πšŽπš–. πš†πšŽ πš πšŽπš›πšŽ 𝚝𝚘𝚘 πš’πš˜πšžπš—πš, 𝚝𝚘𝚘 πš—πšŠπ™ΈπšŸπšŽ πšŠπš—πš πš’πš—πšŽπš‘πš™πšŽπš›πš’πšŽπš—πšŒπšŽπš. π™΅πš›πš˜πš– πš‚πš’πš–πš™πš‘πš˜πš—πš’πšŽπšœ πš˜πš—πš πšŠπš›πšπšœ, 𝚠𝚎 𝚐𝚘𝚝 πš‹πšŽπšπšπšŽπš› 𝚊𝚝 πšŠπšŒπš‘πš’πšŽπšŸπš’πš—πš πšπš‘πšŽ πšπš‘πš’πš—πšπšœ 𝚠𝚎 πš πšŠπš—πšπšŽπš 𝚝𝚘 πšŠπšŒπš‘πš’πšŽπšŸπšŽ πš’πš— πšπš‘πšŽ πšœπšπšžπšπš’πš˜."

Production:

Reek of Putrefaction was recorded in four days at Ritch Bitch Studios in Birmingham. According to guitarist Bill Steer, the studio's engineer "πš›πšžπš’πš—πšŽπš" the record, especially its drum tracks. Carcass had only had a few hours available of mixing, so they had to release the LP as it was to meet the label's deadline. The band were "πšŽπšŸπšŽπš›πš’πšπš‘πš’πš—πš πš‹πšžπš πš‘πšŠπš™πš™πš’" with the end result, declared Steer.


When the master recording was first sent to the pressing plant, the original vinyl LP had to be pressed at lower volumes, because the bass frequencies were so low (sometimes reaching 25 Hz) that they were in danger of rendering higher frequencies inaudible.


Release History:

Reek of Putrefaction was first released in 1988.


The original album cover consisted of a collage of autopsy photographs collected from medical journals.



Reek of Putrefaction was re-released in 1994 with a "πšŒπš•πšŽπšŠπš—" cover.



In 2002, the album was reissued with a censored outer cover proclaiming "π™Ύπš›πš’πšπš’πš—πšŠπš• πšŠπš›πšπš πš˜πš›πš” πšŒπš˜πš—πšπšŠπš’πš—πšŽπš πš’πš—πšœπš’πšπšŽ".



The album was re-released in 2008 as part of an ongoing series of Carcass reissues to tie in with their reunion.



The main album, along with the demo Flesh Ripping Sonic Torment, is presented as one side of a dualdisc, while the DVD side features the first part of an extended documentary titled The Pathologist's Report Part I: Incubation.



Later editions contain the album on a CD and the documentary on a separate DVD. The album is presented in a 12-panel digipak with full lyrics and artwork and is sealed in a white medical bag with sticker, to hide the controversial cover art.



Critical Reception:

In a retrospective review for AllMusic, Ned Raggett writes;

β€œβ€¦πšπšŽπšŽπš” 𝚘𝚏 π™Ώπšžπšπš›πšŽπšπšŠπšŒπšπš’πš˜πš— πšŒπš˜πš—πšœπš’πšœπšπšœ 𝚘𝚏 πšœπš˜πš—πšπšœ 𝚜𝚘 πš’πš–πš–πšŽπšπš’πšŠπšπšŽ πšŠπš—πš πšπš‘πšŽπš›πšŽ πšπš‘πšŠπš πšπš›πš’πš’πš—πš 𝚝𝚘 πšŠπš—πšŠπš•πš’πš£πšŽ πšπš‘πšŽπš– πš’πš— πšπšŽπš™πšπš‘ πš’πšœ πš™πš›πšŠπšŒπšπš’πšŒπšŠπš•πš•πš’ πš’πš–πš™πš˜πšœπšœπš’πš‹πš•πšŽ -- 𝚒𝚘𝚞 πšŠπšŒπšŒπšŽπš™πš πš’πš πšŠπš—πš πš•πšŽπš πš’πš˜πšžπš›πšœπšŽπš•πš 𝚐𝚘 πšπš›πš˜πš– πšπš‘πšŽ πšœπšπšŠπš›πš πš˜πš› 𝚒𝚘𝚞 πš—πšŽπšŸπšŽπš› πšŽπšŸπšŽπš› πš πšŠπš—πš 𝚝𝚘 πš‘πšŽπšŠπš› πšŠπš—πš’πšπš‘πš’πš—πš πš•πš’πš”πšŽ πš’πš πšŠπšπšŠπš’πš—. πšƒπš‘πšŽπš›πšŽ πšŠπš›πšŽ πš˜πšŒπšŒπšŠπšœπš’πš˜πš—πšŠπš• πš–πš˜πš–πšŽπš—πšπšœ 𝚘𝚏 πšŒπšŠπš•πš– -- "π™ΆπšŽπš—πš’πšπšŠπš• π™Άπš›πš’πš—πšπšŽπš›," πš πš‘πš’πšŒπš‘ πšœπšπšŠπš›πšπšœ πšπš‘πš’πš—πšπšœ 𝚘𝚏𝚏, πš‹πšŽπšπš’πš—πšœ πš πš’πšπš‘ 𝚊 πš•πš˜πš  πš‹πšŠπšœπšœ πš›πšžπš–πš‹πš•πšŽ πšŠπš—πš 𝚊 πšπš›πšŽπšŠπš, πšŒπš‘πšžπš—πš”πš’ πš›πš’πšπš, 𝚊 πšœπš–πšŠπš›πš 𝚠𝚊𝚒 𝚝𝚘 πšπš›πšŠπš  πšπš˜πš•πš”πšœ πš’πš— πš‹πšŽπšπš˜πš›πšŽ πšπš‘πšŽ πšπš’πš—πšŠπš• πšœπš•πšŠπšžπšπš‘πšπšŽπš›. πšƒπš˜πš™ πšŽπšŸπšŽπš›πš’πšπš‘πš’πš—πš 𝚘𝚏𝚏 πš πš’πšπš‘ πšπš‘πšŽ πš‹πšŠπš›πš”πšŽπš, πš πš‘πš’πš—πšŽπš, πšŠπš—πš πš’πšŽπš•πš™πšŽπš πšŸπš˜πšŒπšŠπš•πšœ 𝚘𝚏 πšπš‘πšŽ πšπš‘πš›πšŽπšŽπšœπš˜πš–πšŽ πš’πš— πšπšžπš•πš• πšžπš—πš’πš—πšπšŽπš•πš•πš’πšπš’πš‹πš•πšŽ πšπš•πš˜πš›πš’, πšŠπš—πš πšπšŽπšŽπš” 𝚜𝚞𝚌𝚌𝚎𝚎𝚍𝚜 πšπš‘πš˜πš›πš˜πšžπšπš‘πš•πš’ πšŠπš—πš πšŒπš˜πš–πš™πš•πšŽπšπšŽπš•πš’ 𝚊𝚝 πš πš‘πšŠπš πš’πš 𝚍𝚘𝚎𝚜.”

Notice: Any reviews shared here are for historical reference. The views and opinions expressed within are not always supported (in full or in part) by Into the Wells. β€” E.N. Wells



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