I have actually seen Lavatory live in Singapore before, on a show with Ursula at Phil’s studio, so the name was never completely unfamiliar to me. At the time, though, I cannot say I went home and started digging through their catalogue or making it a point to follow everything they were doing. Sometimes you catch a band live, remember the name and then somehow years disappear while you are busy with everything else happening around you (At that point was Ursula which you can check out my review for on VM).
It was only recently that I started buying some stuff directly from the killer Lavatory vocalist Mkd (‘Muntah ke Darah’ meaning Vomit Blood) that I finally decided to sit down properly and go through the band’s material. That was when I realised I had overlooked something that deserved much more attention from me. ‘The Horror of Death’ was the release that really made me stop and listen.
Lavatory have been around since 2010 and already had their place in the Malaysian Death Metal underground long before this mini-album appeared. The band had previously released ‘Transgression’ and eventually delivered the ‘Morbid Terror’ full-length in 2014, before disappearing into what Necrolatry Records aptly described as a period of Death Metal dormancy. ‘The Horror of Death’ was their return, and it does not sound like a band coming back simply because they felt like putting another release out. ([Necrolatry Records])
The title track had already appeared as an advance track on the 2022 ‘Reanimation of Embalmed Necrohorrors’ split with Reputdeath, which makes sense because it gives you a pretty good indication of what Lavatory were bringing back into the sewer. This is Malaysian Death Metal that does not need to dress itself up with unnecessary ideas. The foundation is old school, filthy and direct, but there is enough character in the songwriting to stop it from becoming another faceless worship exercise.
‘The Horror of Death’ gets things moving with the kind of guitar work that immediately tells you what side of Death Metal these guys belong to. There is a strong understanding of the old European and Scandinavian approach, but Lavatory are not simply copying one particular band and changing the logo. The riffs have their own pacing and the songs are allowed to develop instead of constantly trying to prove how fast or technical they can be.
‘Incantation of Evil’ is where the atmosphere really starts sinking in. There is something grimy about the whole thing, and I like that it has not been polished into something sterile. The guitars carry the main character of the recording while the rhythm section keeps everything moving underneath them. This is the kind of Death Metal where the ugliness is part of the appeal.
‘Putrid Existence’ continues along the same path but gives you another example of why the EP works better as a complete piece rather than simply a collection of four tracks. There is consistency throughout the release, but the songs are not carbon copies of one another. You can hear the band understanding when to push and when to let a riff sit there long enough for it to actually sink in.
Then comes ‘When the Innocent Die’, which is an Anti-Cimex cover and a pretty interesting way to close the release. It is much shorter than the three Lavatory originals, but it makes sense in the context of the band’s attitude. You can hear where some of that raw Swedish influence fits into their approach, and the choice of cover does not feel like something added simply to fill the final slot.
What I appreciate most after finally giving Lavatory the attention I should have given them earlier is that they sound like musicians who understand the roots of the style without becoming completely trapped by them. That distinction matters. There are plenty of bands today that can reproduce the surface characteristics of old Death Metal perfectly, right down to the artwork and production, but once you get into the actual songs there is very little underneath.
‘The Horror of Death’ has songs and that may sound like a basic requirement, but it is not always the case with underground Death Metal. Here, the riffs actually stick with you, the arrangements make sense and the four tracks work together as a proper release. The production is rough enough to retain the character you want from this sort of material, but it does not turn everything into an indistinguishable wall of noise.
Coming from Singapore, there is also something satisfying about looking across the causeway and finding Malaysian bands that have been doing this with the same sort of stubborn underground attitude for years. Our scenes have always had connections, musicians crossing borders, playing shows and trading releases, and Lavatory are exactly the sort of band that makes those regional connections worthwhile.
And honestly, I am glad I finally got around to checking them out properly.
Seeing them live with Ursula a few years ago gave me an introduction, but buying their stuff recently and actually spending time with the records gave me a completely different appreciation for what Lavatory have been doing. Sometimes a band can sit somewhere in your peripheral vision for years until one particular release finally clicks. For me, ‘The Horror of Death’ was that release.
There is no need to overcomplicate what Lavatory are doing. This is Death Metal built around riffs, atmosphere, ugly guitar tones, straightforward arrangements and musicians who clearly know the tradition they are working from. The difference is that they have enough personality to make it their own.
‘The Horror of Death’ is a short release, but it leaves the right impression. After finally giving Lavatory the attention I should have given them much earlier, I can understand why their name has continued to circulate within the Malaysian underground. This is the kind of release that makes you go back and dig into the older material afterwards, which is probably the best compliment I can give.
Get this or the hantu tetek will come for you!!!
