Seattle isn't all flannel and rain. If you dig deep enough into the Pacific Northwest underground, past the tech giants and the ghost of grunge, you hit something much uglier. I'm talking about Drawn and Quartered. They aren't the kind of band that gets featured on a Starbucks playlist, and honestly, they probably prefer it that way. While everyone was busy arguing over whether death metal died in the late nineties, these guys were in a basement somewhere in Washington making sure it stayed as rotting and visceral as humanly possible.
They’ve been around since 1993. Think about that for a second. That’s over thirty years of staying consistent to a very specific, very suffocating brand of extreme music. It’s rare. Most bands either break up because someone stole someone else's girlfriend or they "evolve" their sound into something that sounds like a radio-friendly car commercial. Not Drawn and Quartered. They just got darker.
The Immolation Connection and the PNW Sound
People love to categorize things. It's human nature. If you're trying to describe Drawn and Quartered to someone who hasn't heard them, you’re basically looking at a tripod of influences: the dissonant, swirling chaos of Immolation, the sheer bludgeoning force of Incantation, and the classic, sharp songwriting of Morbid Angel. But it’s more than just a tribute act. There is a specific dampness to their sound. It sounds like the woods at night.
Kelly Kuciemba, the guitarist and founding member, has a style that is instantly recognizable if you’re a gear nerd. He uses these pinch harmonics that squeal like a dying animal, but he buries them under this thick, cavernous distortion. It isn't "clean" production. Thank god for that. The modern trend of over-processed, "plastic" sounding metal hasn't touched this band. Their 2021 release, Congregation Pestilence, sounds like it was recorded in a tomb. It’s oppressive.
The vocals, handled by Herb Burke, are just... low. Really low. He doesn't do that high-pitched "shree" thing that’s popular in deathcore. It’s a rhythmic growl that feels like it’s vibrating in your chest. When you combine that with the drumming—which has seen some changes over the years but currently features Simon Dorfman—it creates this wall of sound that doesn't let you breathe.
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Why They Never "Blew Up" (And Why That's Good)
Success is a weird metric in metal. If you're looking for a band that tours the world in a luxury bus and has a million followers on Instagram, you're looking in the wrong place. Drawn and Quartered are a cult band in the truest sense. They signed with Moribund Records early on, a label known for its dedication to the grim and the underground. That partnership defined their early era with albums like To Kill Is Human and Exhumed from the Grave.
- To Kill Is Human (1999) basically set the template. It was raw. It was uncompromising.
- Return of the Black Death (2004) showed they could actually write hooks without losing their soul.
- Hail Infernal Darkness (2006) is often cited by old-school fans as their peak, but that's debatable.
They didn't chase trends. When the "New Wave of American Heavy Metal" was happening and everyone was wearing eyeliners and playing metalcore, Drawn and Quartered were still obsessed with the abyss. They stayed local. They played the Pacific Northwest circuit. They built a reputation for being one of those "musician's bands"—the guys that other death metal guitarists go to see so they can take notes on how to actually play a tremolo pick.
The Art of the Riff
Let's get technical for a minute, but not too much. Kuciemba’s songwriting doesn't follow the standard verse-chorus-verse structure. It’s more linear. A riff evolves into another riff, which then spirals into a solo that sounds like a panic attack. Honestly, the way they use dissonance is what separates the pros from the amateurs. It’s easy to play fast. It’s hard to play fast while making the listener feel genuinely uneasy.
They deal in atmosphere. A lot of bands try to be "evil," but it comes across as a cartoon. Drawn and Quartered feels like a genuine obsession with the macabre. They lean heavily into the theological and the Lovecraftian, but it isn't "fantasy" metal. It’s darker. It’s the feeling of being trapped in a small space with something that shouldn't be there.
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Dealing With the "Drawn and Quartered" Misconceptions
A lot of people mix them up with other bands because, let’s be real, "Drawn and Quartered" is a very metal name. There have been other projects with similar titles, but the Seattle-based veterans are the ones who own the legacy. Another misconception is that they're just a "retro" band. While they definitely draw from the 90s, they don't sound like a parody of the past.
They also aren't "political." In a world where every band feels the need to have a social media manifesto, Drawn and Quartered stays focused on the music and the aesthetic. It’s about the death metal. Period. They aren't trying to save the world; they're trying to soundtrack its end.
Essential Discography for the Uninitiated
If you're just getting into them, don't start at the very beginning. Start with the newer stuff to see what they're capable of now, then work your way back.
- Congregation Pestilence (2021): This is arguably their best-produced work. It’s heavy as hell but you can actually hear what’s going on. The track "Proclamation of the Shadow" is a masterclass in pacing.
- The One Who Weeps (2018): This one felt like a comeback even though they never really left. It’s faster, meaner, and has some of their most complex drum work.
- To Kill Is Human (1999): If you want to hear the raw, unpolished roots, go here. It’s ugly. It’s gritty. It’s perfect.
The Survival of the Underground
How does a band stay active for 30 years without "making it" in the mainstream sense? It’s about the community. The Seattle death metal scene is tight-knit. Bands like Ceremonial Castings or Mortiferum all exist in this same ecosystem where the goal isn't a Grammy; it's a solid set at a dive bar where the floor is sticky and the amps are too loud.
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Drawn and Quartered are survivors. They’ve outlasted labels, trends, and the entire shift from physical CDs to streaming. They’re still putting out vinyl. They’re still playing shows. They are a reminder that death metal isn't just a phase for some people—it's a lifelong commitment to a specific type of sonic darkness.
Basically, if you think metal has gotten too soft or too polished, you need to spend some time with their catalog. It’s an antidote to the "clean" world. It’s messy, it’s loud, and it’s unapologetically old-school without being a museum piece.
Next Steps for the Extreme Metal Fan
If you want to actually support what these guys are doing, don't just stream them on a platform that pays them $0.003 a play. Go to their Bandcamp page. That is where the real underground lives. Buy a shirt. Buy a physical record. The artwork on their covers—often handled by legendary artists like Gabriel "Torn" Wolf—is meant to be seen at 12x12 inches, not on a tiny phone screen.
Also, keep an eye on Krucyator Productions. They’ve been handling the band's recent output and they are one of the best labels for finding stuff that actually pushes the boundaries of how "heavy" music can get. If you’re in the Pacific Northwest, check the local listings for clubs like Highline or El Corazon; when these guys play live, it’s a different beast entirely. You don’t just hear the riffs; you feel the air move. That’s the point. That’s always been the point.