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Exhumed β€” Necrocracy

  • intothewellsabyss
  • Aug 6, 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€¦



August 6 2013 β€” Exhumed released their sixth studio album, Necrocracy via Relapse Records, although it was previously released in Germany on August 2, and worldwide on August 5, 2013. (Apple Music or Spotify)



A music video was released for the lead single, Coins upon the Eyes (Watch video). The album was described by frontman Matt Harvey as slower, more melodic, and darker than the band's other albums. The only album to feature bassist Rob Babcock, the first to feature drummer Mike Hamilton and the return of Bud Burke who now switched to guitar as opposed to bass on Slaughtercult and Anatomy is Destiny.



Background:

The writing for several of the songs on Necrocacy began during the preceding All Guts, No Glory session. Harvey indicated that the tempo variation heard on Necrocacy was a conscious decision that emerged while playing shows in support of All Guts, No Glory: "πšπš‘πšŽ πš•πš’πšŸπšŽ πšœπš‘πš˜πš πšœ πš›πšŽπšŠπš•πš•πš’ πšŒπš˜πš—πšŸπš’πš—πšŒπšŽπš πš–πšŽ πšπš‘πšŠπš πš πš‘πšŠπš πšπš‘πšŽ πš•πšŠπšœπš πšŠπš•πš‹πšžπš– πš›πšŽπšŠπš•πš•πš’ πš•πšŠπšŒπš”πšŽπš 𝚠𝚊𝚜 πšŠπš—πš’ πš”πš’πš—πš 𝚘𝚏 πšœπš•πš˜πš πšŽπš›, πš‘πšŽπšŠπšŸπš’πšŽπš› πšπš›πš˜πš˜πšŸπšŽ 𝚜𝚝𝚞𝚏𝚏, 𝚜𝚘 𝙸 πš”πš—πšŽπš  πšŽπšŠπš›πš•πš’ πš˜πš— πšπš‘πšŠπš 𝙸 πš πšŠπš—πšπšŽπš 𝚝𝚘 πš’πš—πšŒπš˜πš›πš™πš˜πš›πšŠπšπšŽ πš–πš˜πš›πšŽ 𝚘𝚏 πšπš‘πšŠπš πš”πš’πš—πš 𝚘𝚏 πšœπš‘πš’πš πš’πš—πšπš˜ π™½πšŽπšŒπš›πš˜πšŒπš›πšŠπšŒπš’."



Relative to its previous recording sessions, Harvey describes Exhumed as "πšžπš—πšπšŽπš›-πš›πšŽπš‘πšŽπšŠπš›πšœπšŽπš" going into the studio. As a result, "𝚊 πš•πš˜πš 𝚘𝚏 πšπš‘πšŽ πš’πšπšŽπšŠπšœ πš˜πš— πšπš‘πšŽ πš›πšŽπšŒπš˜πš›πš, πšπš’πš•πš•πšœ, πšπš›πšŠπš—πšœπš’πšπš’πš˜πš—πšœ, πšπš‘πšŠπš πš”πš’πš—πš 𝚘𝚏 𝚜𝚝𝚞𝚏𝚏, πš πšŽπš›πšŽ πš›πšŽπšŠπš•πš•πš’ πšœπš™πš˜πš—πšπšŠπš—πšŽπš˜πšžπšœ πšŠπš—πš πšπš›πšŽπšœπš‘. π™Έπš 𝚠𝚊𝚜 𝚊 πšŒπš˜πš˜πš• πšŒπš˜πš—πšπš›πšŠπšœπš 𝚝𝚘 𝚜𝚘 πš–πšžπšŒπš‘ π™³πšŽπšŠπšπš‘ π™ΌπšŽπšπšŠπš• πšπš‘πšŠπš 𝚒𝚘𝚞 πš‘πšŽπšŠπš› πšπš‘πšŠπš πšœπš˜πšžπš—πšπšœ 𝚜𝚘 πšŒπšŠπš•πšŒπšžπš•πšŠπšπšŽπš πšŠπš—πš πšŒπš˜πš—πšπš›πš’πšŸπšŽπš." The pacing of the album also gave Exhumed additional opportunities to explore its sound in the studio, according to Harvey:

"πšƒπš‘πšŽ πšœπš˜πš—πšπšœ πš‹πšŽπš’πš—πš 𝚊 πš•πš’πšπšπš•πšŽ πšœπš•πš˜πš πšŽπš› πšŠπš•πšœπš˜ πšŠπš•πš•πš˜πš πšŽπš 𝚊 πš•πš’πšπšπš•πšŽ πš–πš˜πš›πšŽ πš‹πš›πšŽπšŠπšπš‘πš’πš—πš πš›πš˜πš˜πš– πšπš˜πš› 𝚜𝚝𝚞𝚏𝚏 𝚝𝚘 πš‘πšŠπš™πš™πšŽπš—. πš†πšŽ πšŠπš•πšœπš˜ πš πš˜πš›πš”πšŽπš 𝚘𝚞𝚝 𝚊 πš•πš˜πš 𝚘𝚏 πš‘πšŠπš›πš–πš˜πš—πš’πšŽπšœ πšŠπš—πš 𝚜𝚝𝚞𝚏𝚏 πš’πš— πšπš‘πšŽ πš›πšŽπšŒπš˜πš›πšπš’πš—πš πšœπšπšžπšπš’πš˜, πšœπš’πš–πš™πš•πš’ πš‹πšŽπšŒπšŠπšžπšœπšŽ 𝚠𝚎 πš‘πšŠπšπš—'𝚝 πš™πš•πšŠπš’πšŽπš πšπš‘πšŽ πšœπš˜πš—πšπšœ πš πš’πšπš‘ 𝚝𝚠𝚘 πšπšžπš’πšπšŠπš›πšœ 𝚒𝚎𝚝 πš’πš— πšπš‘πšŽ πš›πšŽπš‘πšŽπšŠπš›πšœπšŠπš• πš›πš˜πš˜πš–, 𝚜𝚘 πšπš‘πšŠπš 𝚠𝚊𝚜 πšπšžπš— πšŠπš—πš πšŽπš—πšπšŽπš πšžπš™ πš‹πš›πš’πš—πšπš’πš—πš πšœπš˜πš–πšŽ πšžπš—πšŽπš‘πš™πšŽπšŒπšπšŽπš πšŒπš‘πšŠπš•πš•πšŽπš—πšπšŽπšœ πšŠπš—πš πš™πš•πšŽπšŠπšœπšŠπš—πš πšœπšžπš›πš™πš›πš’πšœπšŽπšœ."

With β€œNecrocracy”, Matt Harvey wrote lyrics that applied gore aesthetics to politics. He noted that the "πš™πš˜πš•πš’πšπš’πšŒπšŠπš• πšžπš—πšπšŽπš›πš™πš’πš—πš—πš’πš—πšπšœ" of the album were due to the fact that "πšπš‘πšŽ π™Ώπš›πšŽπšœπš’πšπšŽπš—πšπš’πšŠπš• πšŽπš•πšŽπšŒπšπš’πš˜πš— 𝚠𝚊𝚜 πš’πš— πšπšžπš•πš• πšœπš πš’πš—πš πšπš‘πšŽ πš πš‘πš˜πš•πšŽ πšπš’πš–πšŽ 𝙸 𝚠𝚊𝚜 πš πš›πš’πšπš’πš—πš, πšŠπš—πš πšπš‘πšŠπš πš›πšŽπšŠπš•πš•πš’ πš”πš’πš—πš 𝚘𝚏 πš’πš—πšœπš™πš’πš›πšŽπš πšπš‘πšŽ πš πš‘πš˜πš•πšŽ πšπš’πš›πšŽπšŒπšπš’πš˜πš— 𝚘𝚏 πšπš‘πšŽ πš•πš’πš›πš’πšŒπšœ."



Despite the political theme, Harvey continued his exploration of gore;

β€œπ™΄πšŸπšŽπš›πš’πšπš‘πš’πš—πš πš’πšœ πšœπšπš’πš•πš• πšπš’πš•πšπšŽπš›πšŽπš πšπš‘πš›πš˜πšžπšπš‘ πšπš‘πšŽ πšπš˜πš›πšŽ πš–πšŽπšπšŠπš™πš‘πš˜πš› πšŠπš—πš 𝚜𝚝𝚞𝚏𝚏, 𝚜𝚘 πš’πšβ€˜πšœ πš—πš˜πš πš•πš’πš”πšŽ 𝚊 π™³πš›πš˜πš™πšπšŽπšŠπš πšŠπš•πš‹πšžπš– πš˜πš› πšŠπš—πš’πšπš‘πš’πš—πš, πš‹πšžπš πšπš‘πšŽπš›πšŽ πš’πšœ 𝚊 πš™πš˜πš•πš’πšπš’πšŒπšŠπš• πšπš‘πšŽπš–πšŽ πš›πšžπš—πš—πš’πš—πš πšπš‘πš›πš˜πšžπšπš‘ πš–πš˜πšœπš 𝚘𝚏 πšπš‘πšŽ πšœπš˜πš—πšπšœ. π™Έπšβ€˜πšœ πšŸπšŽπš›πš’ πšŠπš—πšπš’-πšŒπš˜πš›πš™πš˜πš›πšŠπšπšŽ, anti-consumerism, that kind of stuff. πšƒπš‘πšŽ πšœπš’πšœπšπšŽπš– πš’πš— π™°πš–πšŽπš›πš’πšŒπšŠ πš’πšœ πš“πšžπšœπš πšŽπš—πšπšŽπš›πš’πš—πš 𝚊 πšŸπšŽπš›πš’ πšŒπš˜πš›πš›πšžπš™πš πš™πš‘πšŠπšœπšŽ, 𝚊 πš•πš˜πš πš•πš’πš”πšŽ πšπš‘πšŽ πš›πš˜πš‹πš‹πšŽπš› πš‹πšŠπš›πš˜πš—-πšŽπš›πšŠ πš’πš— πšπš‘πšŽ πš•πšŠπšπšŽ 𝟷𝟾𝟢𝟢𝚜 πšŠπš—πš πšŽπšŠπš›πš•πš’ 𝟷𝟿𝟢𝟢𝚜 – πš’πšβ€˜πšœ πšπš›πšŽπšŽπšπš˜πš– πšπš˜πš› πšπš‘πšŽ πšœπšπš›πš˜πš—πš 𝚝𝚘 πšŽπš‘πšπš˜πš›πš πšπš‘πšŽ πš πšŽπšŠπš”, πšŠπš—πš πšπš‘πšŽ πš πšŽπšŠπš” πšŠπš›πšŽ πš‹πš˜πšžπšπš‘πš 𝚘𝚏𝚏 πš’πš—πšŒπš›πšŽπšπš’πš‹πš•πš’ πšŒπš‘πšŽπšŠπš™πš•πš’, πš‘πšŠπš™πš™πš’ 𝚝𝚘 πšπš’πš πšπš‘πšŽπš’πš› πš˜πš πš— πšπš›πšŠπšŸπšŽπšœ πš˜πš— 𝚊 𝚜𝚝𝚎𝚊𝚍𝚒 πšπš’πšŽπš 𝚘𝚏 πš’πš—πšπš˜πšπšŠπš’πš—πš–πšŽπš—πš, 𝚏𝚊𝚜𝚝 𝚏𝚘𝚘𝚍 πšŠπš—πš πš›πšŽπšŠπš•πš’πšπš’ πšƒπš…. π™·πš˜πš™πšŽπšπšžπš•πš•πš’ πš πšŽβ€˜πš•πš• πš‘πšŠπšŸπšŽ 𝚊 πš›πšŽπšŠπš πšŠπš”πšŽπš—πš’πš—πš πš•πš’πš”πšŽ πšπš‘πšŽ πšŽπšŠπš›πš•πš’ πŸΈπŸΆπšπš‘ πšŒπšŽπš—πšπšžπš›πš’ πš•πšŠπš‹πš˜πš› πš–πš˜πšŸπšŽπš–πšŽπš—πš πšŠπšπšŠπš’πš— πšŠπš—πš πš›πšŽπšœπšπš˜πš›πšŽ πšœπš˜πš–πšŽ πš”πš’πš—πš 𝚘𝚏 πš‹πšŠπš•πšŠπš—πšŒπšŽ πš‹πšŽπšπš πšŽπšŽπš— πšπš‘πšŽ πšžπš•πšπš›πšŠ-πš›πš’πšŒπš‘ πšŠπš—πš πšπš‘πšŽ πšžπš•πšπš›πšŠ-πšπš˜πš˜πš›. πš‚πš˜ πš‹πšŠπšœπš’πšŒπšŠπš•πš•πš’ 𝙸 πšπš˜πšžπšŒπš‘ πš˜πš— 𝚊 πš•πš˜πš 𝚘𝚏 πšπš‘πšŠπš πš”πš’πš—πš 𝚘𝚏 𝚜𝚝𝚞𝚏𝚏, πš‹πšžπš πš‹πš’ πšœπš’πš—πšπš’πš—πš πšŠπš‹πš˜πšžπš πš‹πš•πš˜πš˜πš πšŠπš—πš 𝚐𝚞𝚝𝚜!”

Critical Reception:

Neil Pretorius of About.com said; β€œ

”...πšπš‘πšŽ πšœπš•πš˜πš πšŽπš›, groovier and much more melodically inclined approach of Necrocacy provided for a more mature and accessible sound that puts it on par with Carcass's Surgical Steel as one of the best Death/Goregrind releases of the year.β€œ

Praising the album's mixture of "πš™πš›πš˜πšπšŠπš—πšŽ πšπšŽπš›πš˜πšŒπš’πšπš’" and "πšŒπš•πš’πš—πš’πšŒπšŠπš•, π™·πšŽπšŠπš›πšπš πš˜πš›πš”-𝚎𝚜𝚚𝚞𝚎 πš™πš›πš˜πšπšžπšŒπšπš’πš˜πš—", David Perri of Brave Words & Bloody Knuckles (Bravewords.com) said, "π™΄πš‘πš‘πšžπš–πšŽπš πš‘πšŠπšœ πšŒπš›πšŠπšπšπšŽπš πšŠπš—πš 𝚎𝚑𝚎𝚌𝚞𝚝𝚎𝚍 πš πš‘πšŠπš πš πš’πš•πš• πšœπšžπš›πšŽπš•πš’ πš‹πšŽ πšŠπš–πš˜πš—πšπšœπš πšπš‘πšŽ πšπš˜πš™ 𝟷 πš™πšŽπš›πšŒπšŽπš—πš 𝚘𝚏 𝟸𝟢𝟷𝟹".



Neil Arnold of Metal Forces expressed the opinion that with Necrocacy, "πšπš‘πšŽ π™²πšŠπš•πš’πšπš˜πš›πš—πš’πšŠπš— πš™πšœπš’πšŒπš‘πš˜πš™πšŠπšπš‘πšœ πš‘πšŠπšŸπšŽ πšœπš’πš–πš™πš•πš’ πšŒπšŽπš–πšŽπš—πšπšŽπš πšπš‘πšŽπš’πš› πš™πš•πšŠπšŒπšŽ πšŠπš•πš˜πš—πšπšœπš’πšπšŽ π™²πšŠπš›πšŒπšŠπšœπšœ 𝚊𝚜 πš•πšŽπšŠπšπšŽπš›πšœ πš’πš— 𝚊 πšπš’πšŽπš•πš πšœπš πšŠπš–πš™πšŽπš πš’πš— πšŒπš•πš˜πšπšπšŽπš πšžπš™ πšπš˜πš›πšŽ".



However, the album did receive some criticism. Joe DeVita of Loudwire conceded that "πšπš‘πšŽπš›πšŽ πšŠπš›πšŽ πš–πš˜πš–πšŽπš—πšπšœ 𝚘𝚏 πš‹πš›πš’πš•πš•πš’πšŠπš—πšŒπšŽ πšŠπš–πš˜πš—πš πš›πšŽπš•πšŠπšπš’πšŸπšŽπš•πš’ πšœπšπšŠπšπš—πšŠπš—πš πšœπš˜πš—πšπš πš›πš’πšπš’πš—πš", but ultimately concluded that Necrocacy is "πšπš‘πšŽπš’πš› πš–πš˜πšœπš πšπš˜πš–πšŽπšœπšπš’πšŒπšŠπšπšŽπš πšŠπš•πš‹πšžπš– 𝚝𝚘 𝚍𝚊𝚝𝚎".



Note: The 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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