Disinterment

Disinterment
Disinterment
Background information
Origin	Marikina/Manila, Philippines
Genres	Death Metal; Grindcore;
Years active	1994–1999
Labels	Disinterment; Sevared Records;
Website	Disinterment
Members	Johnn - vocals; Jessie - lead guitars; Brian - lead guitars (Rip); Myth - bass/guitars; Joph - drums;
Past members	Paul - guitars; Jun - guitars; JC - guitars; Jhurich - bass (studio)

Disinterment is a death metal/grindcore band formed in the early 1990s and based in Marikina, Philippines. They were part of the 1990s death metal / thrash metal / punk movement in Manila. The group disbanded in 1999, but regrouped to record in 2000. They recorded and exclusively released music until 2004 in the United States.

Background

‘Defiled Covenant’ was unleashed in 2003-2007, hauling it to the shores of New York, Florida and California with a special physical album release. Although the band has since gone with two more releases, with ‘Demoniacal Dispel’ and ‘Domination Defied’ receiving physical releases stateside in 2004-2008, it's ‘Defiled Covenant’ that has really become a trademark of the band’s sound.

Originally written and composed throughout the late 1990's, the album wasn't recorded until 1999-2001. Built on eight tracks of solid and unrelenting death metal intensity, ‘Defiled Covenant’ howls and breaks free the chains of its genre. With song titles like 'Desecrated Remnants' and 'Desolate Damnation', they are darkly melodic and strangely calming in a spawning hellfire kind of way. Ruthless in its composition and surgically violent in its delivery, the album has a way of beating you into outright submission. 'Defiled Covenant' takes us musically on a fast paced, sightseeing tour of the 'Domain of the Damned'. It is just a very solid release, featured cover art of the highest caliber.

Disinterment band

Forged from the infernal abyss of Manila’s early ’90s extreme music scene, Disinterment carved their name in blood as one of the first Filipino brutal death metal bands to dominate the underground. This five-piece plague of sonic violence held court at Club DREDD and beyond—known for their savage live shows, unrelenting windmill headbanging, transforming the venue into a temple of decibels and flailing limbs—their shows notorious for whipping crowds into a circle pit delirium with barbaric riffs and skull-cracking intensity.

Considered one of the pioneers of Philippine death metal in the early 90's, Disinterment’s brutal sound and chaotic stage presence set the standard for the genre, influencing a generation of extreme musicians. Disinterment didn’t just play gigs—they conducted rituals of audio extermination, their influence spreading like a contagion across the Southeast Asian underground.

Members

Johnn - Vocals
Jessie - Guitars
Brian(Rip) - Guitars
Myth - Guitars/Bass guitar
Jhurich - Bass guitar
Joph - Drums

Studio member(s)

Jhurich - Bass
JC - Guitars

Former member(s)

Paul - Guitars
Jun - Guitars
Edu - Guitars
Chris - Guitars

Discography

Year	Title	Tracks	Written & Composed By
2001	Diablocide (Demo)	Desoulment	Disinterment Band
		Demise Eternal	Disinterment Band
		Disciples of Deliverance	Disinterment Band
		Disemboweled Ritual	Disinterment Band
		Disemberment Pyre	Disinterment Band
		Disembodiment Rites	Disinterment Band

2002 - 2007	Defiled Covenant	DisIntro	Disinterment Band
		Despoiled Dominion	Disinterment Band
		Divine Retribution	Disinterment Band
		Desecrated Remnants	Disinterment Band
		Dawn of Abomination	Disinterment Band
		Diluvian Crescent	Disinterment Band
		Desolate Damnation	Disinterment Band
		Dark Enthrallment	Disinterment Band
		Desoulment Execution	Disinterment Band

2003 - 2007	Demoniacal Dispel	Depredated Daemons	Disinterment Band
		Dispossessed	Disinterment Band
		Dysphoric Existence / Dakilang Tribulasyon	Disinterment Band
		Demoniacal Dispel	Disinterment Band
		Domain Of The Damned	Disinterment Band
		Delubyong Propesiya	Disinterment Band
		Disembodiment Rites	Disinterment Band

2004 - 2008	Domination Defied	DisIntro ll	Disinterment Band
		Decapitating The Devourer	Disinterment Band
		Domination Defied	Disinterment Band
		Devotional Ruination	Disinterment Band
		Dreadful Insurrection	Disinterment Band
		Decimated Descendants	Disinterment Band
		Deceptive Indoctrination	Disinterment Band
		Disciples of Diablocide	Disinterment Band

References

External links

Pinoy Death Metal / Philippines Pioneer Death Metal / Filipino Death Metal / Filipino Death Metal / Pinoy Death Metal / Death Metal Philippines / Death Metal Marikina / Manila Death Metal Bands

This article "Disinterment" is from Wikipedia. The list of its authors can be seen in its historical and/or the page Edithistory:Disinterment. Articles copied from Draft Namespace on Wikipedia could be seen on the Draft Namespace of Wikipedia and not main one.

Disinterment – Defiled Covenant (Godfathers of Philippine Brutal Death Metal) — Disinterment – Defiled Covenant

Disinterment – Demoniacal Dispel (Premier Filipino Death Metal Band) — Disinterment – Demoniacal Dispel

Disinterment – Domination Defied (One of the Most Brutal Death Metal Band in the Philippines) 1993 — Disinterment – Domination Defied

From The Archive

𝐃𝐈𝐒𝐈𝐍𝐓𝐄𝐑𝐌𝐄𝐍𝐓 – 𝐆𝐎𝐃𝐅𝐀𝐓𝐇𝐄𝐑𝐒 𝐎𝐅 𝐅𝐈𝐋𝐈𝐏𝐈𝐍𝐎 𝐃𝐄𝐀𝐓𝐇 𝐌𝐄𝐓𝐀𝐋 𝐁𝐑𝐔𝐓𝐀𝐋𝐈𝐓𝐘
𝑈𝑛𝑒𝑎𝑟𝑡ℎ𝑒𝑑 𝑀𝑒𝑚𝑜𝑟𝑖𝑒𝑠 𝑎𝑛𝑑 𝐴𝑝𝑜𝑐𝑎𝑙𝑦𝑝𝑡𝑖𝑐 𝐷𝑒𝑎𝑡ℎ 𝑀𝑒𝑡𝑎𝑙 𝑓𝑟𝑜𝑚 𝑡ℎ𝑒 𝐸𝑑𝑔𝑒 𝑜𝑓 𝑡ℎ𝑒 𝑃𝑎𝑐𝑖𝑓𝑖𝑐
𝐵y M𝑎l𝑖k “𝑅o𝑡” C𝑒r𝑣a𝑛t𝑒s f𝑜r F𝑙e𝑠h M𝑜n𝑜l𝑖tℎ 𝑍i𝑛e (𝑂l𝑦m𝑝i𝑎, W𝐴 – 𝐼s𝑠u𝑒 #322, 2005)

"Some bands you remember. Others you never forget because they left something inside you. Disinterment didn’t just play—they branded your soul."

It’s 2005. Most of the world is drowning in watered-down nu-metal, MP3 rot, and mallcore mediocrity. But in the smoke-choked recesses of my brain—and on a battered cassette marked “Divine Curse”—a different sound survives. A sound forged in Marikina’s infernos, before the Internet neutered the underground and Southeast Asia was even a footnote on the global metal map. I’m still standing there, sometime in ’95 or ’96, in a sweat-drenched club in Manila. Five long-haired maniacs are summoning something unholy from the guts of the Earth.

The band? Disinterment. The impact? Permanent.

They weren’t following trends. Hell, they were playing blastbeats before most local drummers even knew the term. They sounded like a tank battalion rolling through a burning cathedral. And I was there.

THE FILIPINO FORGE OF BRUTALITY (1993–1998)
Formed in 1993 by Mythone (bass) and Jophel (drums), Disinterment began as a thrash unit pounding out covers of Slayer, Sepultura, Kreator, and Nuclear Assault. But darker things festered beneath the surface.

As their setlists evolved—adding Morbid Angel, Death, Hypocrisy, Protector, and Resurrection—they were being pulled into death metal’s shadowy maw.

And then came Johnn on vocals. That was the breaking point. That was when Disinterment became something terrifying. Johnn’s voice wasn’t a growl—it was a primordial roar, a seismic bellow from beneath the grave. No other vocalist in the local scene could touch him. None.

“I remember being near the front at a gig in Club Dredd. When Johnn let loose his first guttural, it felt like the floor dropped out beneath me. One guy next to me muttered, ‘What the f**k was that?’”

And no band matched their ferocity. Long before synchronized headbanging became cliché, Disinterment’s full lineup would windmill in unison, their waist-length hair swinging like ritual execution blades. It was a visual and sonic assault.

With Jessie and Brian on lead guitars, the band transformed into a war machine. By ’97, they weren’t just Manila’s heaviest—they were the fastest and most devastating death metal band in the country.

Like a storm of locusts, they tore through Pampanga, Laguna, Cebu—anywhere with a stage and a speaker. They were the sound of the coming Armageddon. They were one of the pioneers of death metal in the Philippines, laying the foundations for all brutality to come.

LIVE RITUALS AND WINDMILL WARFARE
Disinterment’s shows weren’t gigs. They were exorcisms in motion—violent, sacred, and unforgettable. Five men, hair nearly to their knees, windmilling with reckless abandon, their bodies seemingly possessed by some ancient wrath. It wasn’t just synchronized—it was ritualistic. Their headbanging was a violent trance—a terrifying sight you couldn’t stop watching, even if it scorched your vision and rattled your spine.

At the heart of this sonic holocaust was the rhythm section: Mythone’s bass locking in with the twin guitar carnage of Brian and Jessie. Together, they created something surreal—a brutalist triangle of push and pull that bent time itself. One moment, they were racing into warp-speed grinding territory. The next, they’d drop into an earth-cracking slowdown that felt like tectonic plates grinding under your feet.

Their tempo shifts hit like seizures—unpredictable, brutal, mesmerizing. And through it all, their heads swung like ritual weapons, like spinning axes of hair and sweat, invoking chaos with every lurch of their bodies.

Jophel’s drumming was the unholy engine driving it all. His double kicks didn’t just shake your chest—they felt like someone hammering through the veil of time itself.

And then came Johnn—the final nail in the coffin. His voice didn’t just growl—it blanketed the entire brutality in something unholy. An ungodly, thunderous roar that made faces melt and fists freeze mid-air. His gutturals didn’t sit on top of the music—they devoured it, spreading like a black fog across the room. When that voice hit, you pulled your hair—not from joy—but from disorientation, panic, dread, and unhinged excitement, all colliding at once. It wasn’t singing. It wasn’t even screaming. It was summoning.

And through shitty PAs and borrowed gear, Disinterment still sounded unstoppable. They didn’t care about hype. They didn’t talk much on stage. They just played harder, faster, heavier than anyone else. They just showed up, tore the fabric of your being, and left you howling in the wreckage.

THE INTERVIEW: MAKATI, 1997
One humid Saturday in 1997, I met the band in a Makati food court. No handlers. No rockstar antics. Just five guys in black shirts—quiet but intense. They reluctantly handed over a band photo—they weren’t chasing press, only respect.

“They only care about what sells,” Johnn muttered. “You don’t wait for the scene to open doors,” Mythone added. “You kick them down.” They weren’t interested in being remembered. They just needed to get the music out—like a sickness they had to purge before it devoured them.

DELUBYO AND THE DEMO THAT SURVIVED THE GRAVE
Before their 1998 disbandment, Disinterment recorded one now-legendary three-track demo: “DELUBYO” It wasn’t clean. It wasn’t polished. It was perfect. “Desoulment” – their storm-of-judgment namesake track. “Diabolicide” – slow, suffocating, apocalyptic. “Disembodiment” – militant, a call to unholy arms.

Recorded on a crude cassette deck, the demo circulated underground. I may still have my dubbed copy—blank TDK, “DISINTERMENT” scrawled in pen. And I’ll never part with it.

“There were whispers of VHS tapes—live rituals captured in Pampanga and Cebu. Most are probably lost. If you find one, don’t digitize it. Watch it in the dark. Alone.”

EXHUMED AND UNLEASHED (2000–2004)
Disinterment disbanded in mid-1998—no drama, no noise. Just silence. But like all true horrors, they didn’t die. In 2000, they quietly reformed—not to perform, but to record the unsung anthems still gnawing at their skulls from the mid-‘90s. Songs written in ’94–’98 were finally tracked and released as three full-length albums between 2001 and 2004. They didn’t promote. They didn’t play live. They just dropped the records and vanished again. Through cult imprints like Devoured Records and Sevared Records, their music reached ears in Singapore, Japan, New York, and across the U.S. underground. No websites. No Myspace. No bullshit. Just war.

THE SONIC SAGA
Unlike most death metal bands churning out gore one-offs, Disinterment’s albums told one massive, interconnected story—an apocalyptic war between warrior angels and demonic hordes, forces of good and evil battling for the fate of mankind. Disinterment didn’t just write songs—they crafted a death metal mythology.

Each album was a chapter, each track a battle. By the final recording’s final track, the saga was sealed in distortion and blood.

“This wasn’t music. It was myth. A scripture—told in the language of malevolent riffs, crushing blastbeats, and guttural summonings.”

LEGACY OF THE UNBURIED
As of 2005, Disinterment remains silent. Their members dispersed. Their shows the stuff of legend. But their name still echoes—passed in whispers among Southeast Asian bands, worshipped by every true purist of brutal death metal.

“They didn’t just start brutal death metal in the Philippines. They were brutal death metal in the Philippines.”

They are the godfathers of Philippine brutal death metal music, setting the template for all who dared follow. If you find a Disinterment tape, demo, or bootleg—don’t sell it. Don’t rip it. Don’t upload it. Sit in the dark. Crank it. And feel what we felt. Because legends like this don’t come back. They don’t need to.

DISINTERMENT (PHILIPPINES)

Years Active: 1993–1998 (live); 2000–2002 (recording only) Genre: Brutal Death Metal Notable Demo: DELUBYO (1998) Albums: 3 full-lengths (2002–2004) Labels: Devoured Records, Sevared Records Legacy: Unmatched. Unrelenting. Undead. Status: One of the pioneers of death metal in the Philippines.

“They didn’t play shows. They conducted exorcisms.” —Unknown fan, Club Dredd, 1997