Ron Kachnic is the guitarist of Yonkers , NY Technical Death Metal Icons MALIGNANCY. Ron was born in Yonkers N.Y. and has been playing guitar since the age of 3. He has a degree in performing arts/music and has been an international touring musician tearing up the death metal scene since 1996. Ron plays 7 string electric guitar and is endorsed by Blakhart Guitars and Cruelty Cabinets. Ron’s credited discography for Malignancy is Intrauterine Cannibalism 1999 , Motivated by Hunger 2000, and Cross Species Transmutation 2003 all on United Gutteral Records. Inhuman Grotesqueries 2007, and Eugenics 2012 both on Willowtip Records. Epilogue 12’’ Haunted Hotel Records 2014 and a self released sampler Malignant Future 2016 of 3 tracks off their forthcoming album. Ron was also the guitarist of Mortician from 2000 to 2004 and is credited performing on Final Bloodbath Sessions 2002 Primitive recordings and Zombie Massacre Live 2004 Mortician records. Ron is currently working on a new album for Malignancy with 10 tracks ready to hit the studio while playing shows and festivals to keep hungry fans at bay. Here are a few things people had to say about Ron and Malignancy:

Malignancy simply excel at technical death metal and the reason for this is the riffing of guitarist Kachnic. Kachnic's style is one of almost constant pinch harmonics allied with short warring bursts of palm-muted chords or 6th-string hits in precisely located segments of percussive concatenation, only rarely rising up into more "traditional" full riffs, trills, or morbid, aloof (detached, holding themselves "above meaning") melodies before diving back down into grinding, repetitive (yet seemingly always changing, the secret of the style) variations on rhythmic death metal figures. I seriously can not compare his style of music-making directly to the ideas/work of any other guitarist, although there are others who definitely can sound like him at times. The end result is music that is alienating, otherworldly, nihilistic (in that it realizes the - some would say "bitter" - truth of music's inability to communicate meaning and seems to press that belief to its logical conclusions, like some forms of industrial noise), often depressing, and almost always suited to the bewilderment and isolation, confusion, or bewitching seduction of one's powers of understanding. Simply put: listening to "Cross Species Transmutation" is like being repeatedly kicked in the head by someone much smarter than you. As for the musical structures, Malignancy have the concept of “chaos” in absolute domain. It doesn’t sound disjointed and gratuitous, but really complicated and well-composed, full of clashing riffs, drumming and the vocals. The main pillar for this formula’s sucess is the creativity, present in the way they write their riffs and arrange them. Speaking of the riffs, I should give them an A+, just because of the total abuse of pinch harmonics. These are usually employed for effect, but here Malignancy adopts them to develop a very original and dominant riffage style. When combinated with some rare tremolos (1:20 to 1:38 of Mortality Weakness, for example), the result is great. The counterpoint is made by some well-applied brutal slam riffs (that oddly enough aren’t the 2695th ripoff of “Liege of Inveracity”’s breakdown) that when allied to the vocals and blistering drumming (see “Fibroid Embolism”, probably the best track here), conjurate an absolutely destructive power.

Review Summary: Re-arrange your face (or playlist) with this inhuman showcase of extreme sound

Tied-down, anatomically rearranged, and forcefully rattled to the point of internal combustion…this, like the album cover, will leave the listener temporarily thinking impaired. Malignancy emerged from Yonkers along with death neighbors Immolation and Suffocation back in 1992, but unlike their contemporaries, managed to stay under the radar a little more. A more technical, grinding onslaught makes for a violent listen and difficult premises for musical analyzers. Yes folks, the legend metal heads are still at it, adding more enjoyable nuisances to their style, this time naming the hate-child- “Inhuman Grotesqueries”. Actually being a part of the “brutal bands” little club, kids, take notes.

The title track begins with a gorgeous acoustic guitar passage then, twelve seconds in the mood is hilariously changed. A sudden rush of panic and claustrophobia fills the atmosphere. Laser-quick drum patterns synchronize with guitar-neck-abused rapid shifting and are lead by a berserk banshee seeking revenge for something or other. The most noticeable feature knitted throughout the album is the seemingly fetish-like pinch-harmonics. Seriously, one can hear a pinch every one-thousand milliseconds in some hot spots of the album. Well, it was bound to happen; playing on the fret-board alone became boring, therefore Malignancy created equilibrium between harmonic squeals and “regular” riffing. The intricate song-writing is one of the most impressive feats of this masterpiece. Oftentimes, it’s more difficult for the listener than the performer in this case. It is obvious that these legendary death kings have mastered their weapons and humorously enough, are getting bored of standard shred. The vocals are spewed usually in the same realm of appalling gutturals, switching back-and-forth from deep to deeper. Not to worry though, once in a while an eye-gouging screech can be heard.

I’ve always been moderately fond of what Malignancy brought to the table of technical death metal. They’ve always been an impressive group despite having just a handful of major releases, yet there has always been a timeless edge to most of their material that puts them in league with Suffocation or Cryptopsy as one of the godfathers of their mangling identity. “Eugenics” marks just the third full-length album under the Malignancy banner, but these New Yorkers are clearly as twisted and complicated as ever. The basis of “Eugenics” is a cyclone of unlimited depravity that scoops nuclear fallout out of irradiated wastelands and distributes the poison over every part of the planet, leaving no vegetation or life untainted. Too many parts of this album are inhuman, chugging through claustrophobic grooves which pound bone into brittle and swirl the genetic code into a dysfunctional mess of bawling, distorted horrors.

Malignancy’s trademark style of violating instruments in more ways than your imagination can fathom is in prime form throughout “Eugenics,” slapping Father Time right in the face. The entire four corners of the square–Danny Nelson, Mike Heller, Ron Kachnic, and Roger Beaujard– are together one of the most cohesive units that ever played the game. Every riff, bass line, drum beat, and guttural bellow is fully circular and dependent on the whole package to forge a large, complicated sound from its specific parts. In non-douche terms: everything works together flawlessly. Riffs that seem to have emerged from some mathematical abyss in space unceasingly fire above and below algebraic bass playing and flashy percussion algorithms that boil skin like nuclear fire; it’s insane how much stuffing lurks in each track. There is somewhat of a method to the madness, however, as much of the album boils its ingredients to maximum use, never leaving a single root depleted or overused.

Technical death metal in general seems to be a thinning field, but Malignancy has never failed to get it right. “Eugenics” is perplexing; “Eugenics” is also enjoyable. For something so complex and layered, the general key to the vault of technical death metal is merely a balance of elements without sacrificing one for the other, and that’s actually quite simple when you really think about it. Malignancy continues to defy and deny throughout “Eugenics,” and it’s