Now, certainly, techno and dubstep beats/programming in metal, specifically deathcore, have been used plenty over the years ( The Browning, Beyond All Recognition), but Disfiguring the Goddess, I feel, is one of the first (I’d say The Berzerker, but while they used techno drums they had little dance/programming beats, and yes I know about Fear Factory‘s and Avulsed’s cyber efforts), to really lean into the dubstep influence, despite starting as a standard deathcore/slam band.

But of late, he and his more recent songs have been all over social media, with some even going a bit viral (namely the 2025 EP Galapagos). Especially with the popularity of bands like PeelingFlesh, Infectious Jelking, and Filth, where programming and rap are now commonplace.

So I went back and checked out post-Katerpiller albums like Softly With You, Blood Era and the Brutal Machine – and it’s all pretty consistent; massive, groovy slam/deathcore with oodles of samples, beats and programming. And that’s what Bloom offers, though it appears singing to Seek and Strike has given him a bigger production budget after being pretty independent for his career.

Most of you will hate this. But if you like the aforementioned PeelingFlesh, you will eat this up, as while not using rap, there are tons of dubstep beats and programming/samples amid the generally mid-paced, massive, loping slams. And those bite-sized slams (16 songs in 50 minutes) are pretty satisfying and head-bob-inducing; I imagine the likes of “Samba of the Faceless”,  “Echoes Fade, I remain”, “Deathcore Song”, “Mask off (feat. J-Figure)”, the lumbering “Goddess Box (feat. Bodybox)”, “Low Slam Low”, and “Black Widow Spider” would be pretty fun in a live environment.

That said, there are a few more ‘out there’ tracks like “AWOL”, “Sweet Dreams ” and “Dapper” (both feat. Four Stroke Baron)”, “Permission to be Claimed”, “Kiss the Dice” and reggae-laced “Pleasure Island” with either a lot more…. weirder? programming and some other vocal styles used than the brutal slam growl/burp.

Admittedly, 50 minutes is a bit long for this. Around “Pleasure Island”, the schtick wears off a bit, and I’ve heard the same riff a few times now (but I could see he t “Penance” being a live fixture). But like the albums before, this will be a random guilty pleasure of mine when I want something a little different if I want to shake my booty for a bit. (Ewwww, sorry for that visual).

Dub-Slam? Slam-Step? Techno-slam-core? Dropcore?

Disfiguring the Goddess is the brainchild of Dubstep/DJ/electronica musician ‘Big Chocolate’ aka  vocalist Cam Argon formerly of Burning the Masses, Misericordiam and Abominable Putridity and numerous other brutal acts guest appearances and remixes. Being a huge fan of Misericordiam‘s work, I stumbled upon this project while doing some research is Misericordiam were still active, and found this was his second release under this moniker.

What we have here is ultra slammy death metal/deathcore on steroids, mixed with industrialized  techno/dub step  bass drops and electronic/ cyber elements. Admittedly, on paper that sounds terrible I know, but in reality DTG is actually an impressive (if no doubt divisive) and pretty hefty, bludgeoning listen.

This 7 song release (not sure if its a long EP or short album) absolutely brings the beef. The programmed industrial drums and numerous bass drops will test any sub woofer, the guitars are plenty death metal and of course, Argon’s vocals, as with all of his prior work, are simply brutal. The programming/techno elements are intertwined with the pummeling slammy death metal, with various introductory or background tinkling, whirrs, bleeps, bloops and spacey ooohhhs and aaahhhhs. So it’s not a full on cyber/industrial release, but rather Dying Fetus or Kraanium (bear with me here, I’m not really huge into the slam scene and I just got a Kraanium album for review, so they are fresh in my memory) brutally raping Skrillex (you’ll have to forgive me if Skrillex and Dubstep are inaccurate, as I’m not exactly a techno/Dubstep expert) while listening to Fear Factory‘s Remanufacture.

At only 21 minutes, Sleeper is a short listen, but holy hell does it make an impact and it was  prolapsing my bowels for its entirely as I tested out the Alpine stereo/sub-woofer in my new vehicle and got some measure of revenge upon some local residents and their gansta rap played at loud volumes from their vehicles. The blast beats tend to become a wall of noise, but its the dense break downs and slams such as “Daughter of the Depths”, “Lady Epicenter”, “Mountain” and “Ocean Tomb” are quite simply flat out nasty heavy in their speaker wilting, glass shattering, neighbor scaring and car rattling brutality.

But even with the purist upsetting programming and slams,  and no doubt mouth breathing fan base, Disfiguring the Goddess is simply heavy as all get out and far less inane and trendy as some of the other bands with programming and electronics (Design the Skyline, Eskimo Callboy etc) forsaking any sort of pop or scene allusions on favor of pure, unadulterated heaviness. Plus, the dude seems to be having fun with the whole project and not taking himself too seriously.

Now my credibility is completely shot, I must go and listen to some Christian Mistress, 3 Inches of Blood and Autopsy.