Review: “Slay Utterly” by Carrion Vael

Since their 2017 inception Brutal Melodic Technical Death Metal storytellers Carrion Vael have embraced exploring every facet of true crime history, often focusing on the stories of individual serial killers and their victims. Their fifth studio album “Slay Utterly” doesn’t stray from the left hand path, instead offering a perspective that jumps between the killer themselves and the experiences of the victims over the course of history. Unlike other bands who rely on the shock factor alone, the past lights the way for Carrion Vael as vocalist Travis Lawson Purcell invests his time and energy in researching the back stories of the protagonists of the tales to balance historical reality with bloodthirsty noise. That might sound distrubingly analytical but it has lead to the Richmond Indiana natives touring the world over, sharing stages with the likes of The Black Dahlia Murder and Cattle Decapitation to name but a few.

This collection of horror stories begins with “19(fucking)78“, a cut that muses on nature versus nurture and the Hillside Stranglers of California as well as an obsession with control, Purcell’s fierce vocals scalding the ear canals during an vicious opening verse. Introducing Melodic Death Metal leads and glorious symphonic orchestrations gives the track a sense of epic granduer despite its gory origins with Purcell not afraid of a vocal change up as he teases momentary cleans and spoken word elements during what is nothing short of a full on assault on the senses. To describe Matt Behner’s drumming as restless and relentless is the understatement of the year, his gravity blasts and jackhammer footwork utterly devistating despite the aching sense of melody that runs through the core of this intense outburst. Flamenco acoustic guitars provide a palate cleansing introduction to “Truth or Consequences“, something that works phenominally well as the tale of David Parker Ray, a man known as the Toy Box Killer of New Mexico unfolds. As you might expect, Carrion Vael reach ramming speed swiftly there after with Purcell’s venomous vocal tirade as vicious as they come. The musicianship is once again impeccable as the band demonstrate their dedication to craft with a handful of majestic moments of naunce that rise from the whirlwind of percussive battery breakneck riffs with each repeated listen. There is so much going on at times that its almost impossible to hear it all in one sitting, the brain incapable of absorbing it all simply because you’re too busy enjoying the moment that came before the current one. It’s that good and the icy synths underneath the acoustic fade out are the absolute Chef’s Kiss.

Taking a different route to remain, “1912” is a lyrically speculative piece that revolves around an unsolved axe murder that shook the small town of Villisca, Iowa on a hot June night in 1912. The melodic introduction with its clean vocal line almost feels like its from another band, lulling those not indoctrinated in the ways of Carrion Vael into a false sense of security. Fortunately that approach is short lived with riffs flying in all directions alongside resplendent orchestrations, the sweeping solo being another jaw dropping moment. The techtonic plates shift momentarily with a Deathcore outburst mid cut that might catch you off guard with its relative simplicty before the band return to their usual territory and while that might not grab you the first time around, it grows on you with repeated listens. Could you have an album of this nature without a tale about Jack the Ripper? He’s the subject of the grizzley “30 on 9” which has at its black beating heart a classic 2003 era American Metalcore riff from an era that was influenced by the Gothenburg scene. Arguably the crowning glory of another stunning piece of work, it almost feels like a miracle that Purcell manages to squeeze the vocals in as the band generate so much energy with their dynamic display, axe weilding duo Trenton Limburg and Ryan Kurder deserving a lot of credit for the damage they inflict with this one.

A series of smaller axe murder cases is the subject of “40 Echoes Upon the Parlor“, a cut which references Lizzie Borden during a whirlwind onslaught of pummelling percussion and buzzsaw riffs. Imagine Allegeon, Nekgoblicon and Archspire getting together in a rehersal space, sinking a fuel tankers worth of Red Bull and then recording the first thing that came to mind. That doesn’t even begin to do justice to the rediculous energy of this cut with its sweeping leads from guitarist Ryan Kuder which are just part of its complete white knuckle thrill ride like instanity. Hells teeth there are even some vocal parts that border on operatic during this brutal undertaking. Things take a Progressive Death Metal turn as delicate piano notes and the sound of dripping water usher in achingly mournful clean vocals to build an atmosphere of remorse and anguish. That is then destroyed in a fraction of a second with the rising fury of “Lord of 74” which tell the chilling tale of Joseph Kallinger, a schizophrenic shoe cobbler from Philadelphia who believed that God had sent him to murder every person on Earth is behind. Breakneck speed riffing of the finest order is needed to keep time with the rhythm secion as bassist Alex Arford and drummer Matt Behner give another masterful performance over an enthralling near seven minute magnum opus of an utterly spellbinding track. How many times can we use the word “Utterly” in a review of “Slay Utterly“?

Arguably one of the biggest true crime mysteries around is the the 1947 murder of Elizabeth Short, better known as the Black Dahlia which forms the narrative of “Bisection 47” because she was found cut in half from the waist. The five piece go for the juggular from the first note of this one, leaving the fret-boards smouldering in the process, the surprise with this one being that there are scream-a-long moments with the repeated line “you reap what you sow!“. In the final third the band produce a mesmerising melodic break before building the mountain once more for a grand finale that is so powerful its enough to trigger a brain hemorrhage. There is only time for one more so moving away from the serial killer stories to one born of Greek mythology. “Black Chariot” is of course a re-recording of a live favourite from the bands 2020 album “God Killer” and makes for a strangely fitting ending to this collection because some of the lead guitar parts echo some of those that appear on the new material. The solo is as majestic as ever and as the collection of vivid portrails of guilt comes to a bitter end all you will want to do is give it another spin. It’s that good [9/10]

Track Listing

1. 19(fucking)78
2. Truth or Consequences
3. 1912
4. 30 on 9
5. 40 Echoes Upon the Parlor
6. Lord of 74
7. Bisection 47
8. Black Chariot

“Slay Utterly” by Carrion Vael is out 16th January 2026 via Unique Leader Records