Destroy the Opposition Drum Setup — Kevin Talley's Brutal Death Metal Landmark | MetalForge
Kevin Talley recorded Destroy the Opposition (2000) on a Pearl Masters Series kit with a Pearl Free-Floating or Sensitone Steel Snare snare.
Inside Kevin Talley's drum performance on Dying Fetus's Destroy the Opposition (2000): Pearl Masters kit, Zildjian cymbals, and the groove-and-blast duality ...
Frequently Asked Questions
What album is considered Kevin Talley's most influential Dying Fetus performance?
Destroy the Opposition (2000) is widely considered one of Kevin Talley's most influential recorded performances and one of brutal death metal's defining albums. The title track in particular showcases his ability to shift between extreme blasting and punishing mid-tempo groove without losing compositional coherence — a duality that became a template for brutal death metal drumming more broadly. See the [full Kevin Talley drummer profile at MetalForge](/drummers/kevin-talley) for his complete career chronology.
Who produced Dying Fetus's Destroy the Opposition?
Destroy the Opposition was produced by Dying Fetus alongside Steve Carr, recorded between April and June 2000 at Hit and Run Studios in Rockville, Maryland. The album was released on Relapse Records on October 3, 2000, and marked the point where bassist Jason Netherton's explicitly political lyrics became the band's dominant lyrical thread.
What drum kit did Kevin Talley use on Destroy the Opposition?
Kevin Talley played a Pearl Masters kit on Destroy the Opposition — maple/mahogany hybrid shells in a double 22" x 18" bass drum configuration, with 10" and 12" rack toms and 16" and 18" floor toms, paired with a 14" x 6.5" steel snare. His cymbal setup used Zildjian A and A Custom hi-hats and china, driven by a DW double bass pedal and Vic Firth American Classic 5B sticks — the same rig documented on his [complete drum setup breakdown](/articles/kevin-talley-drum-setup).
How does the groove on 'Destroy the Opposition' work?
The groove sections on "Destroy the Opposition" run at approximately 155 BPM and hit with a physical weight that can feel heavier than many faster passages, because Talley places the snare and kick with surgical precision rather than filling space with density. This "chug" or breakdown-style pattern requires the drummer to let notes breathe — a different discipline than blasting, where the challenge is resisting the temptation to fill every gap. The kick locks in tightly with the bass guitar, giving the song its signature tight, low-end weight.