Full Discography (9x CD Bundle) *PRE-ORDER: Your Entire Order Ships: Jan 30, 2026*

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Get the Complete 9-CD Mortician discography for $100 – a 26% slashing!

All nine CDs come in jewel cases, each featuring a colored disc and an 8-page booklet with a refreshed layout overseen by the band.

Mortician’s legacy unfolds like a blood-slick timeline of underground extremity, beginning with the raw chaos of Mortal Massacre and progressing through ever-heavier incarnations of drum-machine violence, horror worship, and seismic guitar tone. Their journey starts in a world of rehearsal rooms and small-stage frenzy before mutating into something mechanized, unrelenting, and unmistakably their own.

Everything begins with Mortal Massacre, a release that freezes Mortician’s earliest identity in amber. The studio cuts crackle with Matt Sicher’s very human drumming, offering an immediacy the band would later exchange for mechanical extremity. Horror cinema looms large from the opening moments: the intro to “Intro / Mortal Massacre” is taken from Night of the Living Dead, and the closing “Redrum / Outro” pulls from The Shining. Tracks recorded at D+D Studios and Sleepy Hollow Studios reveal a band intertwined with the early U.S. death metal underground, John McEntee appears on the Brutally Mutilated material, and Will Rahmer’s brief tenure in INCANTATION further cements those connections. The live recordings from 1990 and 1992, by contrast, reveal Mortician at their most primitive and fiery, a band still forming its language of horror and heaviness

By 1995’s House by the Cemetery, Mortician had begun forging the sound that would define them. The distortion is thicker, the drum programming colder and more relentless, and Rahmer’s vocals have sunk to their fully subterranean depths. Samples serve as grim narrative cues, stitching each track to the horror films that inspired them. Their cover of “Procreation of the Wicked” becomes a cavernous tribute, while “Scum” explodes with grind-infused momentum. The record feels like a doorway, a moment when Mortician stepped confidently into the role they would occupy for decades.

Their first full-length, Hacked Up for Barbecue, sharpened the blade even further. Released in 1996, it presented Mortician’s developing formula at full strength: monstrous bass-heavy guitars, hyper-fast programming, and atmosphere carefully shaped by horror samples. Short tracks hit like sudden acts of violence, while longer grooves reveal the band’s instinct for tension and cinematic pacing. Rahmer’s vocals become another layer of percussive force, merging into the mix rather than floating above it. This was the album where Mortician stopped resembling any peers and instead solidified their own sonic identity.

In 1998, Zombie Apocalypse arrived as an EP in name only, running over 27 minutes and delivering some of the band’s most atmospheric material. A key shift occurred during this period: Mortician added a second guitarist, Desmond Tolhurst, whose presence thickened the guitar attack while bridging the band to the MALIGNANCY camp, he jammed bass with members of that circle, including Roger J. Beaujard and Ron Kachnic. The title track “Zombie Apocalypse” rises with a colossal, corpse-dragging riff before exploding into blasts, while pieces like “Slaughterhouse” and “Hell on Earth” expand the band’s range from panic-stricken grind to dread-soaked horror. Tolhurst’s contribution added an extra layer of weight that helped define this era’s sound.

Desmond Tolhurst continued his role as second guitarist on 1999’s Chainsaw Dismemberment, his final appearance with the band. His presence once again reinforces the MALIGNANCY connection, making this lineup one of the most interconnected in Mortician’s history. The album itself feels like Mortician weaponized, the tone thicker, the grooves deadlier, the pacing more vicious. Samples act as grim scene-setters before eruptions of grinding distortion. Despite its primal structure, the record exudes total confidence. The slow passages crush, the fast ones slice, and Rahmer’s vocals lock into every movement like an instrument of blunt force.

Mortician opened the millennium with Domain of Death in 2001, one of their tightest and most focused records. The songwriting feels deliberate and brutal, shaped by riffs that strike with both immediacy and memorability. “Telepathic Terror” and “Wasteland of Death” demonstrate how hypnotic Mortician can be when combining simple patterns with their monstrous production. Samples are positioned with surgical timing, adding atmosphere without disrupting momentum. Seventeen tracks later, the closing “Necronomicon Ex Mortis” ties Mortician’s mythos together, suggesting a continuity threaded across their catalog.

Then came Darkest Day of Horror in 2002, a record that doubles down on Mortician’s strengths instead of chasing reinvention. Here the band provides pure, unfiltered Mortician, the riffs thicker, the blasts more punishing, the atmosphere darker. Samples flicker in and out like scenes from a splatter tape, and the distortion forms an enormous wall of sound that feels engineered for fans who already know what they want from the band. It is Mortician in their fully mature form: merciless, unwavering, and utterly committed to extremity.

#8 in the chronology, Zombie Massacre Live, captures Mortician onstage in a radically different lineup configuration. For these early-2000s shows, Roger J. Beaujard moved from guitar to drums, and Ron Kachnic, also of MALIGNANCY, joined on guitar. This lineup shift injects the performances with a volatile energy absent from the drum-machine-driven studio material. Beaujard’s live drumming is fierce and physical, while Kachnic’s guitar work reinforces the band’s connection to the MALIGNANCY school of technical brutality. The setlist spans classics and newer material, delivered with overwhelming density and a raw soundboard grit that magnifies the chaos. “Chainsaw Dismemberment”, “Domain of Death”, “Slaughtered”, and “Blown to Pieces” gain new ferocity in this configuration, proving Mortician’s material thrives in the unpredictable environment of the stage.

Finally, #9, Reanimated Dead Flesh (2004), closes this chronology with a reaffirmation of everything Mortician stands for. The guitars hit with massive, earthquaking force, shifting between crawling midtempo punishment and rapid-fire blasts. Rahmer’s vocals sound even deeper and more commanding, anchoring tracks like “Human Beasts” and “Return to the Grave”. The horror samples strengthen the album’s haunted-house atmosphere, turning each song into a cinematic corridor of terror. Mortician delivers their brutality with complete conviction, sounding rejuvenated rather than exhausted after more than a decade of extremity. Across all nine releases, Mortician’s evolution remains defined not by stylistic change but by the sharpening of a singular vision: a fusion of horror worship, overwhelming heaviness, and relentless simplicity executed with absolute conviction. Their catalog is a mausoleum of grinding riffs, flickering film samples, and subterranean growls, a body of work as enduring and undead as the creatures that inspire it.