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TRENCH FOOT – Sacrificing Morals For Gory Obscenities
Neil Arnold
June 2022


Joe Bradley


Over the last few years there’s been a stir within the United Kingdom death metal scene. The still waters of British lakes are now peppered with bubbles, suggesting something is wriggling and writhing in the depths and waiting to rise like some bestial entity.

It’s fair to say that the British death metal scene has been somewhat on and off since the days when Bolt Thrower, Cancer, Benediction and the likes ruled. They were the great days where the scene drifted into grindier, thrashier, doomier and even punkier climes, so for every Carcass there was a Napalm Death, for every Cerebral Fix a Necrosanct, and for every Decomposed a My Dying Bride. Some of the bands became famous, able to evolve within and out of the scene, while others just drifted and drowned into the seas of obscurity – such as Devoid, Desecrator, Impaler and the likes.

However, there’s always been that rainy, British charm in spite of this island never truly being able to compete with those over the water. Since the early days we’ve seen the rise of Floridian death metal, Swedish buzzsaw death metal, Finnish gloom, et al, but now Britain is firmly back on the map with a glut of acts that deserve your attention.

The genre is evolving to become murkier and weirder as acts such as Wurm, Cerebral Rot and Wharflurch display versatility within their cacophony of extremity. However, these overseas performers can surely be matched by our own upstarts here in the UK as the likes of Coffin Mulch, Putrid Fate, Visions From Beyond, Mortuary Spawn, Gouger, Gore Shriek, Crypt Rot and Celestial Sanctuary poke their heads out of the cauldron, shaking themselves off and marching onwards to cult status.


Moral Obscenity EP

Another act that has come to my attention, mainly due to the fantastic UK label Dry Cough Records, is Trench Foot. Trench Foot is the work of one-man, Joe Bradley from Liverpool, who I caught up with recently on the back of his recently released EP, Moral Obscenity; a putrid three track offering that’s dirtier than a Graeme Souness tackle.

I began by asking Joe how Trench Foot came to fruition? “I’ve always wanted to do a solo project but could never stick to anything once I’d started it,” he muses. “I’ve started instrumental projects, thrash projects and hardcore punk projects, but I knew death metal would be something I would stick with.”

And why the name Trench Foot? “I wanted something gross without going down the obscure medical procedure avenue, à la brutal death metal.”

There’s certainly no confusing this grisly project with two other bands that have used the moniker over a decade ago, one being a metalcore act from the United States and the other a bunch of Belgian crossover merchants. However, I am surprised at Joe’s influences, which have more in common with the above mentioned bands. “I got into metal when I was about ten-years, old and my biggest influence at the time was Iron Maiden,” he reveals. “From there I discovered the likes of Slipknot, Pantera, Megadeth and Slayer before discovering death metal, black metal and heavier thrash bands. Nowadays I take the majority of influence from the Floridian death metal scene, with a hint of the New York scene thrown in for good measure.”

It’s certainly an age thing, as I can understand the Iron Maiden thing, but for me the 90s scene felt diluted with Pantera, and especially Slipknot. However, there’s some excellent death metal bands now and the scene is really healthy. “I’m a big fan of the modern revival bands such as Frozen Soul and Sanguisugabogg as well, but I’d say my overall main musical influence is Cannibal Corpse.”

I guess this is where the crossover with horror films comes into the equation too? So many death metal acts emerge after an infatuation with horror movies, particularly from the golden age. “Horror films have had a huge impact on my music,” Joe states. “I take massive amounts of inspiration from 70s and 80s splatter films. I have made references to Lucio Fulci, Dario Argento and Ruggero Deodato films – all three being Italian film directors – in my lyrics and I love adding a good gruesome sample to my tracks!”

There’s such a booming UK death metal scene at the moment with such a variety of bands. Is this something you are aware of? “Yeah, I’d say there’s a very healthy death metal scene in the UK at the moment,” Joe agrees. “All those bands you mentioned have put out great releases and I look forward to hearing what other depraved sounds they all come up with in the future. There are plenty of other great projects that are killing it at the moment as well, including Slimelord, Sewer Fiend and Body Asphyxiation Science.”


Sacrificial Gore EP

You were also involved with Cryptic Shift at one point. “We obviously can’t talk about UK death metal without mentioning Cryptic Shift. I’m incredibly proud of how far they have come and will always be grateful for my time spent with the band,” he acknowledges. “Two years down the line and I still can’t believe I played guitar on the Visitations From Enceladus album. It’s mad to think how well received it was!”

So, your new release is Moral Obscenity, which comes on the heels after 2021’s Sacrificial Gore EP and the split project with Body Asphyxiation Science. Can you tell me more about the process in creating and recording the new EP? “I started writing Moral Obscenity shortly after I released Sacrificial Gore,” Joe says. “I was pleased with the first EP but I knew I could do better. The first EP was all written on the fly and there are absolutely no lyrics, so for Moral Obscenity I sat down and took time to properly work on riffs, solos, lyrics and themes. I recorded everything then sent it all over to Adam Rogers at Pitlab in Leeds to mix and master, and he did a fantastic job!”

Do you have a favourite track on the latest EP? “I’d say my favourite track is the opener, ‘Septic Experiments’. It’s based on Fulci’s The House By The Cemetery (as is the artwork made by Rotting Head). I love the two step section before the solo, even if it doesn’t last very long!”

Often bands release a couple of demo tapes, a single, or get involved with a split project and then work on a full-length release. So, is a full-length release on the horizon? “I’m actually already working on the full-length!” Joe admits. “I have four tracks written so far and I’m already thinking they will surpass Moral Obscenity. There’s a bit of technicality thrown in, but it’s mainly no frills, mid-tempo death metal which the fans are used to by now.”

That’s great news. So will there be gigs in the future? Harder I suppose to accomplish if it’s just you on your own? “As far as gigs go, I actually have one lined up,” he confirms. “It’s a hometown show in Liverpool in October where I will be playing with a full band. I don’t really have much interest in playing live shows so I’m not actively seeking them out, but I’m more than happy to play the occasional one off show!”

Has it been difficult getting exposure for a project like yourself? “It’s really been a huge issue getting exposure,” Joe admits. “But the best way would be to play live shows – ironic since I’m not that interested in playing live. I’m more than happy just releasing music for people to listen to, even if it does reach less people. Even if just the one person buys or streams my music then that’s a win in my opinion.”

Is there anything further you’d like to add? “I’d like to say a big thanks to everyone that has enjoyed this release so far. It was a pleasure to write and record and I’m thrilled that people get to enjoy it as much as I did.”

The Moral Obscenity EP was released on June 10th, 2022 and can be purchased here.

Interview published in June 2022.

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