What do you get if you cross renowned Canadian war metallers Blasphemy, infamous battle metal Brazilians Goatpenis, and Canadian black/death metallers o'war (and o'notoriety) Antichrist? Obviously you get international (well, inter-American) supergroup Blasphamagoatachrist! Do not ask why we don't get Antipenisblast, or Goatchristemy, or Blaschrispenis, or Antigoatpenischristblasphemy, or B.A.G, or even Blasphamagoatchrist - where did that extra 'a' come from? Do, however, take a moment to think how fun a rule that metal supergroups had to be named from parts of their other band names would be. Imagine the poor bros in Bloodbath trying to construct something sensible out of Opeth and Katatonia (Katapeth? Opetonia?) or Fantômas pondering over Melvins, Slayer, and Mr Bungle (Slaybungvin? Melslaygle?). Pretty much the only name not to be a comedic abomination would be Iced Guardian, as boringly okay as that real band's actual output!

But enough nonsense, and no side rambles about the members' amusing names ("Sabbaoth of the Blood Moon Powerlifting Legion" on bass!). Bastardizing the Purity is not by any means a bad album, moving away from the more unmusical aspects of the war metal sound in favour of a still noisy but altogether decent retro black/death sound that those familiar with the composite bands will enjoy (and let's face it, no-one goes out of their way to listen to a band called Goatpenis without some appreciation for extreme metal's sillier side). Suitably warlike intro 50 cal. Demonic Chant aside, the ensuing title track soon bursts into ominous life, grimy riffs atop a clattering battery, wild solo and incomprehensible yelled vocals, it's all as you'd expect, not least the production which makes this sound like a live album. Yet it has its own charm, and cuts like the thrashy grunt of Black Nuclear Shadows are more than fun even before the dips into speedy blackened galloping. Generally this sort of metal is more about its own aggression than any attempt at making the songwriting distinctive, and this definitely delivers in terms of feeling like an assault on your ears!

Even so, the likes of The Final Blood Orgy and Death Alchemy do enough to make themselves not feel like the same song rewritten, and although hardly technical the instrumentation is competent. It's hard to criticise this sort of black/death because its creators intended it to be blunt and brutal, entirely caught up in its own persona and not remotely for everyday ears. There is the hint of something better to come, though. Genocide Evocation is one of several pieces that takes more of a grindcore tone, and it works as effectively as you'd expect; more mixes of early Terrorizer and war metal, please! Even the multiple Intro pieces are necessary breathers, acting as breaks from the repetitive action, and although it's more than a fair question to ask why a sub-half-hour album even needs interludes, kudos to Blasphamagoatachrist for recognising the need for them. Far better than you'd expect this sort of thing to be but still very much a niche subgenre within a subgenre, this will appeal to a select few of the powerlifting legion.