We thought this project was already done, right?\u00a0 After Vomitorial Corpulence split up in 2008, their releases went higher and higher up in value and became sought after listeners and collectors of the Christian underground grind scene.\u00a0 For almost two decades, the project would “lay in obscurity” as drummer Chris Valentine once told me.<\/p>\n\n\n\n
But then, before I knew it, an update hit me right in the face.<\/p>\n\n\n\n
On June 12, 2026, I woke up to an email that I never expected at all. Rottweiler Records had dropped a new release by Vomitorial Corpulence, a single titled “Beastial Devourment”! I had to read that artist name multiple times to make sure I was not dreaming. I practically forced myself out of bed to check this new single out. Listening to it, I had so many questions, as did many other Rottweiler followers and supporters.<\/p>\n\n\n\n
Firstly, Vomitorial Corpulence is no longer a multi-man band. It is now a one-man project run by its sole founder Paul Green. Not only did he return to providing guitars and vocals, but he also seemed to have stepped out of his comfort zone to utilize drum programming, as it has become much easier in this day and age. Further steps into the world of music technology have been taken to master this new material and capture the gory sound the project had harnessed ever so gloriously back in its prime. That was further showcased in the singles that followed… “Hanging Martyrs” (July 31), “Killing Spree Of 40 Virgin Martyrs” (August 28), “Masticated Ahijah” (September 25), and “Suffocating Immersion” (October 16). I listened to those singles multiple times to further tighten my grip on this new era of VC. And when the new album “Martyrdomical Symphonanthem” finally dropped, it was time to see just what it held.<\/p>\n\n\n\n
Guitars have definitely been given a different goal in sounding deadly. Before, every riff had the aesthetic of the shredding of a chainsaw. Here, it’s more like a swarm of constantly-stinging bees carrying chainsaws of their own. It seemed Paul had new ideas for guitar riffs not just for grind, but for death metal riffs, even on the technical side, that he had been itching to play for the years that led up to this. Vocals are taken to the next level too; initially he only growled the lower vocals throughout VC’s first two productions, but here he handles ALL ranges, unleashing pure Australian sickness.<\/p>\n\n\n\n
Aside from what was recorded by hand, drum programming was experimented with to a large degree. Most of these tracks harness a brutal death metal snare that rings out with every slam, as hard as it would be if using drumsticks on skulls emptied of every muscle. A small handful of tracks use different snares, perhaps to see what it would sound like if sledgehammers fell upon masses of exposed tissue. Then again, this is not the only release that has experimented with different drum programming throughout; Mangled Carpenter’s most recent release “Between Blood And Silence” is a prime example. The same goes for the mixing\/mastering process, though I perceive it differently for VC’s new album. I understand it’s supposed to sound gory, though some tracks have different mastering aesthetics than others; some are more on the side of “splatter”, others are more like “noise”, and others sound plain muddy. Then again, there is only so much one man can do while working on so much at once, especially when trying to experiment with different mixing\/mastering results for forty songs (there are thirty-five up front, but buying the album provides a few more).<\/p>\n\n\n\n
I do admire how this album tackles VC’s inspirations once again, namely Carcass. The song “Martyrgoreical Barbaric Slaughter” captures Carcass’ groove, harnessing gory themes with high screaming vocals throughout. And the way I hear it, “Zechariah Bloodshed” seems to pay tribute to UK death\/grind legends Exhumed and their debut album “Gore Metal”.<\/p>\n\n\n\n
My only complaint is not just the different mastering throughout, but that a couple of the tracks suddenly cut out jarringly. Perhaps some ideas thrown into those tracks simply did not work well, and cutting them out as they were was the only way to make it work, much like Encryptor with their song “Images Of Tragedy”. Whatever the case may be, handling Vomitorial Corpulence alone may still be an experimental phase for Paul, and perhaps next time will show much improvement. This new album may be only a first step into something better down the road.<\/p>\n\n\n\n
For now, “Martyrdomical Symphonanthem” is what we have for this current era of Vomitorial Corpulence. The album can be bought from Rottweiler Records, on both CD and digital.<\/p>\n\n\n\n