Peeling Flesh – PF Radio 2: Turning Slam Into a Broadcast of Controlled Chaos
Peeling Flesh have officially leveled up with PF Radio 2. Where their earlier work hinted at potential—those flashes of creativity peeking through the grime—this new record feels like a mission statement. It’s a declaration that slam doesn’t have to be one-dimensional, humorless, or punishing for the sake of punishment. Instead, it can be stylish, self-aware, and—maybe most importantly—fun.
From the jump, PF Radio 2 feels like a transmission from another world: a warped broadcast where chopped-and-screwed hip hop, Southern trap, and old-school slam death metal collide in glorious, chaotic harmony. Peeling Flesh don’t just sprinkle in influences; they inhabit them. The record flows like a twisted mixtape, a continuous frequency shift between genres that shouldn’t coexist but somehow do.
The opening track, “Introlude,” sets the tone perfectly. It plays out like flipping through late-night radio stations—commercial jingles, static, snippets of voices—before locking into a haze of syrupy trap and ominous riffs. It’s immediately clear this isn’t your typical slam album. The atmosphere matters as much as the brutality, and that energy radiates through every track that follows.
Tracks like “Redacted” and “Channel Zero” showcase the band’s ability to merge precision with absurdity. “Redacted” rides trap percussion and guttural riffs that sound like they’ve been dragged through mud, while “Channel Zero” turns the groove into a weapon—its headbanging rhythm feels deliberate, ritualistic, until it all collapses into a breakdown so filthy it borders on comedy. Even the interludes—“Middlelude” and “Outerlude”—serve a purpose. Rather than filler, they act as palate cleansers, keeping the momentum and reinforcing the album’s radio-broadcast conceit. The whole record moves like one long, chaotic set, tuned to the same twisted frequency.
What really sets PF Radio 2 apart, though, is how it stays brutal without ever getting dull. Every song has its own personality. “Holdin’” leans hard into the chopped-and-screwed aesthetic, pulling slam into a rhythmic pocket that actually swings. It’s nasty, hypnotic, and almost danceable in its own deranged way. “Autistimus Prime” pushes the concept even further, layering snappy snares, pig squeals, and rap samples into a Frankenstein hybrid of hip hop swagger and death metal filth. It shouldn’t work, but it absolutely does—forcing the listener to nod along to both worlds at once.
And then there’s “Flesh Cathedral,” one of the record’s defining moments. It opens with a gospel-style choir urging you to “put your f***ing hands up,” before descending into mind-melting breakdowns that balance absurdity and genius in equal measure. It’s a perfect example of how Peeling Flesh use humor not as a gimmick, but as a tool—breaking the genre’s self-serious tendencies wide open.
By the time the final stretch hits—“Midnight” and “DVPB”—the vision behind PF Radio 2 comes fully into focus. These songs crush, no doubt, but they also feel deliberate in their pacing. The hip hop undercurrents act as cushioning for the brutality, keeping things listenable without sacrificing impact. Every riff is sharp, every drum hit precise, and every sample lands with intention.
PF Radio 2 isn’t just another slam record—it’s a fully realized concept album that redefines what the genre can be. It’s cohesive, fearless, and genuinely exciting. Peeling Flesh have proven that extreme music can evolve without losing its bite, that it can be both boundary-pushing and self-aware.
In a scene that often prides itself on how unfun it can be, PF Radio 2 is a breath of filthy, refreshing air: creative, cohesive, and endlessly replayable. Peeling Flesh haven’t just outdone themselves—they’ve set a new standard for what slam can sound like in the modern age.
NOTABLE TRACKS:
Redacted
Holdin’ (feat Corpse Pile and Algor Mortis)
Flesh Cathedral