Dipygus – Dipygus

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U.S. death metal band Dipygus’ third self-titled album was released via Memento Mori on January 22nd, 2024. One might wonder what the definition of Dipygus is. So, I looked it up on Google and found some disturbing images, and I dare you to look at these deformed pictures. It is a rare deformity due to genetic environmental or teratogen factors that are presumed to be implicated early in intrauterine life thereby affecting the embryonic cloaca and notochord derivatives and seems all too fitting for a band that plays some disgusting death metal...

The new album brings tons of influences from hardcore and death metal whereas the core sound has improved from the 2021 album “Bushmeat” and the follow-up EP “Wet Market”. Dipygus takes further steps to brutalize their niche in the vein of old-school U.S. death metal bands like Autopsy and Impetigo. The band’s line-up consists of bassist and backing vocals Dayan, Sam, and Dustin on guitars, Clarisa and Eric on vocals, and Bog Stomper on drums. The oozing riffs churn out with thick guitars and grinding drums ensure the barbarity of the new material in the opening song “Perverse Termination (Bulb of Force)”.

The filthy atmosphere is combined with guttural disgust. Its heavy drumming beats and twisted riffs exude a rotten stench of puss, instrumental wise the band seems to possess fine skills with the thick guitar tone and bass punching you in the gut in the following song “AquaGenesis”.

However, I must admit I had not taken the band so seriously until I heard the new album. The growls have a very low-tuned pitch resulting in plenty of memorable moments, the songs begin with some samples as the whole shift becomes intense and almost organic. There are some slower parts among these songs but Dipygus delivers all kinds of morbid thrills to the connoisseurs of old-school death metal with the drums blasting your skull on songs like “Monrovia, LR 1990”. There is an excellent demonstration of the dual growls imbuing gruesome monstrosities which are flawlessly executed from the mid-pacing drums to the twisted deranged riffs.

Guitar solos emerge from crypts dripping with putridity, the production is moldy, but it highlights the songwriting, and the result is a mixture of rotten riffs. Dipygus eschews the modern gimmicks and there is balance in the song structure from the rhythm guitars and the brutal drums on songs like “Vipers at the Pony Keg” demonstrating the effective gallops to straightforward blast beats.

Огромный Кальмар (Ross Sea Trawler)” is a perfect example of the band’s latest effort. Apart from the blasting drums the dual guitars are perfectly emphasized throughout as you can hear gnarly rhythm dripping with slow horroresque melodies with focused riffing adding atmosphere in such detailed manner. The drums don’t focus on blast beats, but some songs constantly burgeon the hell out of you. I found the riffs to be influenced by Autopsy, but I digress. Because it is interesting to mention the use of the synthesizer on the short interlude “Bug Sounds II (Megascolides australis)”. Which is a bizarre combination of sound effects, bass guitar, and synth, all making it sound like a dope ass horror funk ritual.

The Dover Demon” then begins with raw guitar riffs the whole sound here feels like the band channeling the style of late 80s death metal and of course, the Autopsy influences are perfectly displayed here. Dipygus has a unique approach to atmosphere, where the female growls add more of that quality to the songs. While the riffing works in tandem with a deranged style of drumming, a lot of these riffs sound primitive and raw brought by a level of intensity.

Dipygus familiarizes itself with the cryptids, the antiquity of creepy bug fantasies, and the horror methods of anthropological aspects to transfer the listener to a remote island inhabited by frenzy humanoids. “Rat Lung-Worm” and “The Ochopee Skunk Ape” are among the shortest songs in the album, having an average time length of one minute and a few seconds only.

The album also includes one prolonged song “Sacral Brain” extended to eleven minutes of slow, gory death doom metal. The musical changes here have an overall slower sound played with brooding guitar lines soaked in cavernous death doom riffs as every instrument provides atmosphere, but the riffs dominate this slow oozing song as the drums and the synthesizer in the background forms up a creative composition.

In the remaining portion of this song, the drums move apace with some up-tempo, making the most vicious and brutally effective by using the versatility of the riffs to sound doomy and heavy simultaneously.


  • Music / Songwriting 9/10
  • Vocals / Lyrics 8/10
  • Mix / Production 9/10
  • Artwork & Packaging 8/10
  • Originality 9/10

“Dipygus” third studio album proves that the Santa Monica sextet evolved as a coherent band that plays some sick death metal music, therefore the album comes recommended to fans of Impetigo, Cerebral Rot, and Fetid.

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