Necrospective: CANNIBAL CORPSE

It’s been a while since the last time I wrote something on this “blogzine” or however you want to call it. As I supposed even from the beginning the videoreviews just didn’t click, so I am going to revert back to good, honest, old school written reviews, like usual. I haven’t been completely idle all this time actually since I have been writing some stuff for a new issue of the paper version of NA (out some day) but I felt like kicking a bit of dust here with another necrospective. As you might remember from the last one, necrospectives generally are about bigger, less underground bands, I can’t see the need to make extensive biographies on obscure bands even if I might consider that as well one day. Every music writer holds the hidden desire to write about classic albums so here it is a long story about one of the most uncompromising bands of the genre. I wish I could find the interview i did with Corpsegrinder i did on the band’s van in 1996 but I can’t find that old mini tape, if it shows up one day though, it would be a lot of fun to rip it on mp3, even just for my atrocious English (now that I think about it I brough the tape to English class ahah).

It’s quite obvious but worth remembering that these reviews are not objective nor written with the competent ear of a professional. Since I don’t believe in “musical journalism” at all I will try to describe the impression I got from these records the day I bought them and how they just influenced my own life when and if they did. Take all these reviews with a pinch of salt.

I think I’ll just bypass the demo, singles, EPs and live albums since we have plenty of full length studio albums to dissect.

Eaten Back To Life – Metal Blade 1990 (7,5/10)


I listened to Chris’ old band Leviathan some time before this album was released on a Metal Forces compilation although I never connected the two Chris Barnes were one and the same until a few years later, uh. “Eaten Back To Life” is a good album, a little thrashier and a bit brighter than the two following monsters that followed it, but good nonetheless. The lyrics were already spot on: high on gore elements involving car crashes, psychos eating cadavers and of course the band’s main theme – zombies. You might have noticed it but every Cannibal Corpse album has at least one song about zombies, starting from this one. For the time this album was quite a shock as few bands actually brought the theme of extreme splatter to these levels. Overally speaking I liked the album a lot, spun it endless times, even though the vocal patterns sometimes just sounded a bit too plain, something however the band completely fixed with their next album, THE real masterpiece.

Butchered At Birth – Metal Blade Records 1991 (10/10)


Starting from the greatest cover ever, and one of the best covers in the Death Metal world in general, with that thick, almost three-dimensional feel, this album is all in all the best stuff this band ever released in my opinion, listening to Butchered at Birth is like being inside that cover, some forgotten gore covered dungeon cell with zombie doctors butchering pregnant victims. This album has no space for breathing, it’s so grimy the air itself feels thick when it spins. This is one of the albums I’d save should I decide to cut all my record collection to just a shelf. Complete masterpiece. Only problem I had with Butchered at Birth was that it didn’t include lyrics so I had to mail a friend who got a Xerox from France to finally be able to read it. Third generation copies ahah. I think the original one came from their fan club, I had one of those letters years ago and I recall the frame was amazing, I even used that for a couple of concert flyers. Not a lot to add, this is a perfect album, flawless from (severed( head to toes.

I just realized I already did a review of this album long ago, here is the link.

Tomb Of The Mutilated – Metal Blade Records 1992 (9,5/10)

R-7532710-1443438525-4667.jpegObjectively, from my perspective, THIS is the best album Cannibal Corpse ever recorded. With Tomb these guys just progressed from the path paved on the previous album and took the whole package to an entirely new level of extreme. Even more graphic than before, somehow darker, everything on this album is perfect, not just artwork and music, but the lyrics (this time with some sexual elements) too are so sick they manage to touch some nerves. I honestly felt the album was not as claustrophobic as the previous one, but what it lacks in thickness, it gained in gory, creepy feel. Even if I should rate it higher that Butchered, I consider it a hairline lower in my own personal agenda. Barnes vocals are as dark and deep as ever, but I think in Butchered they just had that extra punch. Some songs are memorable and well, I just can’t find any real weak spot to mention here, it’s a huge classic.

The Bleeding – Metal Blade Records 1994 (5,5/10)

R-758918-1220371464.jpeg R-7260478-1437413288-8319.jpeg

I don’t know if it was the lack or Rusay that left the band before this album, but I was totally disappointed by The Bleeding. I remember I got the vinyl from a record store in Bologna and I was skeptical from the start because the cover was just a big gash instead of that Locke galore I was expecting, I hoped for something over the top and all I got was a small detail from the artwork that could be seen on the back of the sleeve. I spun it a couple of times before realizing this album was giving me absolutely nothing. Barnes vocals this time were way too clear, almost sounding like a bark, and the riffing was not as tight as before, it sounded as if the band was trying to go on the wrong direction although not in a disgraceful way as a lot of their contemporaries. Listening to The Bleeding recently I realized I don’t dislike it as much as I did when I bought it, however it’s just way inferior to the two masterpieces that predated it. I still don’t like much Barnes vocals here, but I think he was starting to work on an idea that would soon turn ito that shit band called Six Feet Under. Luckily enough, the shittiest parts of this album drifted to SFU leaving space for a more than decent follow up, “Vile”.

Vile – Metal Blade Records 1996 (7,0)

R-386365-1412423353-6326.jpegI was completely surprised to hear Barnes was leaving Cannibal, so much so that I still envision Barnes when I think of the bend even if he left over 20 years ago. But I was even more puzzled by hearing they engaged Monstrosity’s singer, whose vocal style was not just different but right the opposite of the static grunting of Barnes that was characteristic of that early incarnation of CC. Corpsegrinder’s a singer that articulates and modulates his vocals a lot, how could they fit him to sing old CC material? Luckily the band first came to Italy just a few weeks after this album hit the stores, so I could see it by myself (and this is also where I managed to have that interview with George I mentioned before) and what could I say? The guy was a great replacement, even though the style changed dramatically to fit his vocal style from early on. I later heard three songs recorded for “Vile” with Barnes on voals and honestly I heard few things so uninspired, weak and shitty as those. Maybe just Six Feet Under suck that bad, but I can dare to say these songs were even worse. Was he already planning to leave the band before being kicked out? We’ll never know for sure. “Vile” in se is a good album for me, it might have some songs like “Bloodlands” that feel like they’ve been written a bit too hastily but there are some others like “Puncture Wound Massacre” which are real killers. All in all not the pinnacle of the band, but good stuff nonetheless.

Gallery Of Suicide – Metal Blade Records 1998 (7,5)

R-510732-1127665124.jpegWell, this album offically greets version 2.0 of the band. While “Vile” sounded like they were still reasoning how to incorporate Fisher’s vocals to their sound,”Gallery” shows the band’s new ugly face to the world. Pat O’ Brien also chimed in to replace Rob Barrett and the cover art is the first real sign that Locke was changing his style radically even though the work is excellent save for an horrible glow effect on title and that new logo we already saw on “Vile” (Barnes owned the right on the old logo, meh). This albums also mark my departure from the band, not because it’s a bad album, but because at the time I was completely into obscure underground acts and generally was considering these albums “safe to get later”, if you know what I mean. Gallery of Suicide is a good massacre in my book, thicker and darker than Vile, and a decisive evolving of that album’s sound carefully tailored on the Corpsegrinder’s inimitable throat-ripping. Like said before, the evolution in songwriting shows us a different Cannibal Corpse here, with a wider range of solutions and ideas that sometime border on experimental. I have read bad things about the album’s production, possibly because there’s no Burns behind the band from now on, but I personally can’t find anything wrong here, “muddy” to me is Ok if we talk about Detah Metal. You want to hear a “too muddy”, underproduced album? Check out “Breeding the Spawn”, or “Death Metal” by Dismember, certainly not this one.

Bloodthirst – Metal Blade Records 1999 (8)

Layout and graphics aside, this album delivers badly the new Cannibal as fit as ever. I am definitely not a sound technician nor I care much at all, but it’s impressive how everything in this album just stands out neatly, including Webster’s monster bass-work and Corpsegrinder’s words of hate. It also goes a bit beyond that, as the orchestral work also extends to the song writing as well. This might be a mature peak for a band that is known mostly for its uncompromising discipline and dedication to brutal music. It should be remarked that the end of the 90’s was also the time a lot of the second wave of Brutal Death Metal bands started to flower expecially in the States, a genre so loved and despised by many even today. I personally feel both emotions today, preferring the more uncontrolled, chaotic, possibly dirty and ugly sound of punk into my Death Metal, but I also liked a lot of the “cut the shit” attitude of bands during that time lapse that went straight for the deepest, sickest riffs and guttural vocals. It’s a long story that doesn’t change much my opinion on this album, as you can’t really classify it in the Brutal Death galore of that time for reasons both musical and historical. Preachers of the “old school” sound might probably ridicule it, but you know, haters gonna hate.

Gore Obsessed – Metal Blade Records 2002 (7,5)

R-484793-1122801058.jpgAh, this new studio album welcomed the Cannibals in the 21st century. If there’s one thing I like about Gore Obsessed is the feel you get that this album is just a big statement of intent, a giant, middle finger blasted high in the open sky. It gives the impression that they wanted to make it clear they just don’t give a fuck about people complaining about the gory topics they keep singing about and therefore released this album that basically says “we’re gore obsessed, OK, fuck you!”. Which is, well, a statement I can’t help but appreciate. There is not really much to say about this album, aside from the production which is now handled by Neil Kernon. It follows ups where Bloodthirst ended, which is not a problem at all to me. The lyrics are still sick stuff, yet still not as deranged as the Barnes ones, an era which is just gone forever and probably for the best.

The Wretched Spawn – Metal Blade Records 2004 (7,5)

wretchedIt takes a lot of effort not to watch Cannibal Corpse’s hideous new logo with random Photoshop effects layered on top stretched as wide as the whole cover with the same shit applied to the title, giving the whole cover the feel of a total print bootleg shirt bought in the parking lot in front of a venue. I personally am not a fan of Locke’s new style that here shows more accurately as well, with that weird method of mixing unnaturally livid colors, yet the artwork is as graphic as ever (I think they also got some problems with it when it was released but can’t remember properly), so much so it was once again censored in some editions. Musically you it once agains follows up where Gore Obsessed ended, maybe with some more accurate metrics by Fisher, but it’s still solid to the face Death Metal the like the Cannibals got us used to, which is not a bad thing in my book. Blastbeats and intricate riffing? Check. Inhuman vocals with impossible patterns? Check. Gore lyrics and theme? Check.

Kill – Metal Blade Records 2006 (7)

R-1014848-1397840380-2522.jpegWith Barrett (of which I am admittedly no fan – but he basically wrote only one song here) back on rhytm guitars replacing founder Jack Owen our heroes hit the 10th studio album with the minimal-looking Kill. Minimal in looks but not in composition, even though overally this album feels just a bit more uninspired compared to the previous two, Corpsegrinder is the real monster here, with vocals that feel just like out of some cenobite ruled hell of suffering. Production, mixing and engineering are on the shoulders of Erik Rutan this time, resulting in his typically flawless yet a bit plastic sound. The work however is technically superb as all the instruments fall into place clear cut from the rest, which considering the complexity of the songs makes sense.

Evisceration Plague – Metal Blade Records 2009 (7,5)

R-2635632-1294336323.jpegThe cover art on Evisceration Plague is plain terrible, I hoped it was the usual detail of a bigger censored cover but the illustrations on the inner sleeve are even worse, I have to believe Locke scetched this shit during lunchtime thinking about a card game or a teenage book because I really can’t believe it’s the same hand that drew Butchered At Birth. This guy still knows how to do great works, this one is just an evident fail. Yet surprises come in all shapes. This album is in my opinion the best one they have done in the new Millennium right after the following “Torture”. They gained back some of the darkness and harshness of the beginning (just hear the first few seconds of the title track) with some added variety on the songs and a Corpsegrinding vocalist that managed to find interesting patterns on really, really impossible riffs. People consider it a follow up of Kill, I personally like it way better.

Torture – Metal Blade Records 2012 (8,5)

R-3497495-1332760027.jpegWhoah, despite a string of roughly similar albums, the cannibals ultimately delivers their best album since Tomb of the Mutilated here, with a collection of songs that are as varied as heavy and brutal as they’ve never been since Barnes left the band. I basically like all the songs, including the “zombie song” that always appear in each album and this time runs right after the opening track. Heavier sound, fewer tricks, a choice of just a few killer riffs make this album one of the three Cannibal albums I’d keep if I was forced to sell my collection. Great stuff from start to finish, lots of ideas and definitely no fillers. On the contrary, the album might feel a bit more straightforward and simpler, but the magic worked here was to keep just the best stuff to create a few solid songs that each stand on its own, unlinke some of the earlier albums in which each songs sounded a bit like a variation of the same, if you know what I mean. That’s it, top notch experimentation within brutality.

A Skeletal Domain – Metal Blade Records 2014 (7,5)

R-6094283-1410928966-7136.jpegA Skeletal Domain is a good album, it follows up where Torture left, by maintaining the distinctive “new” songwriting style all the while adopting some of the old solutions as well. It’s a mix of Torture and the previous five albums, in a sense. While Torture was a new breed of CC with a lot of the feel of the earlier days but veichled into some interesing concepts, this album somewhat crosses the path with the post Bloothirst era of the band by picking heavily from the compositions and not just the feel. It’s still an album to have like all the Cannibal ones, in my opinion.

OK this is the last one, from just 2 years ago. Whew, Never would I have thought reviewing the whole discography would take a full week, these guys really went through ages in the Death Metal timeline right through the sedimentation rings of sickness and brutality.

Necrospective: DEICIDE

I am getting the hang of doing these Necrospectives (which is a feature I actually contemplated for a long time). This time I am up with a very long list of albums by a fundamental band from my first steps into the world of Death Metal and Grindcore. My views on the subject are quite atypical so I can imagine I’ll have several complaints about the ratings ah, ah. How funny to have a blog about records where you can write anything you wish.

pre-Deicide (Amon 1.0)

Amon, or Aamon, is a great and mightie marques, and commeth abroad in the likenes of a woolfe, having a serpents taile, <spetting out and breathing> [vomiting] flames of fier; when he putteth on the shape of a man, he sheweth out dogs teeth, and a great head like to a mightie <raven> [night hawk]; he is the strongest prince of all other, and understandeth of all things past and to come, he procureth favor, and reconcileth both freends and foes, and ruleth fourtie legions of divels.

– Johann Weyer, De praestigiis daemonum (1577)

symbol of amon

I will be honest here, I don’t remember having heard of Deicide before their self-titled full-length when the name exploded with all its bombastic tongue-in-cheek Satanic propaganda. I only managed to hear the stuff from these two demos a hanful of years later when Roadrunner released the “Amon” compilation (I also have a funny story to tell about going to the Vatican with a longsleeve from that record back in 1993, eh). These recordings however, are SO full of malevolent energy I can’t even properly describe their impact. They certainly have a more Slayerish flow and a somehow thinner sound, but at the same time the vocals are much more malicious. What is lacking in the sheer brutality that is/was the leitmotif of Deicide is replaced by sheer atmosphere, the almost serpentine gargling whispering words of blasphemy immersed in an environment of pops and crackling typical of the old analog media. There is a lot of hidden black energy in these recordings, which places them in my humble opinion on the same, maybe slightly better, position as the debut.

Vote: 9/10

 “Deicide”, 1990


All the previous Amon tracks have been re-recorded for this debut, with a completely different sound. The crepitating, slithering evilness of the earlier recordings have mutated here in a work maybe less evocative, but definitely of greater impact. The sound is still very dark, especially considered the year in which this album was recorded. At the time Deicide was one of the very few bands widely known beyond the small circle of people with a decent knowledge of underground music currents (that sounds like a million years ago), not just for the gimmicks of using decomposed meat and blood on stage and all the shit about Benton branding an inverted cross on his forehead or alleged suicide at 33, but also for their unique sound that included among the fastest double bass drum in the world. Certainly one could argue about that today, but it was all that people not listening to this music knew: I had some friends into “other scenes” asking for recordings of this album for years. I remember being quite perplexed about the comic book used on the album sleeve, where this monk is being turtured by demons, it just felt so out of place, but taken as a whole the layout was rather effective, front cover sigil and all (wished they stayed on this path anyway).

Deicide was definitely a sensation from day one: massive, fast, no-nonsense. The lyrics on this album are still not very definite, but effective for the aural butchery that is the record. I would say it’s an all time masterpiece, if it had not the unluck of preceding “Legion”.

Vote: 8,5/10

Legion, 1992


Deicide was a very big blast in the underground in my city as well as all in a sudden I was surrounded by a very dedicated core fandom. I can certainly relate to that: they were killer. It was also one of my first Death Metal gigs ever when they toured with Gorefest in 1992 (my first show was probably Carcass in Rome in 1990 which, strangely enough, also featured Atrocity) and the first time I was realizing that Death Metal was assuming a constant presence in my country as well. Concerts at last were not just anymore attended by drunkards and punks. Then one day I just stepped in the local metal shop and bought this vinyl record. I still vividly remember the horror of seeing the sleeve being chewed by my dog which at the time was a puppy when I was having dinner but placing this album on the record player for the first time was life changing and had me forget everythung – just the same emotion I had the first time I spinned “Reign In Blood”. I knew Deicide already, but this was something entirely different. This was HELL – accurately described in detail and carved in the bones of saints, a masterpiece built on the heads of decapitated holy men. Unholy fucking shit, this album is so razor sharp, obscure and devastating there is no reason why anybody should not own it. It is one of the 5 best Death Metal records of all time, period. Sooooo incredibly inspired. The lyrics are a mix of Satanism and occult lore, free of that shitty tongue in cheek humour of the following records. This record is absolute perfection: it manages to create an immensely powerful evocative picture of an infinite massacre, a land without god where inconocalsm has crushed every single spark of life. I have no words, really, to describe how immensely amazing this album is. It is EVIL incarnate, distilled ona  record. La Fin Absolue du Monde made music.

Vote: 10/10, absolute Masterpiece

Once Upon The Cross, 1995

Deicide in 1995

Deicide in 1995

By the time this record was released, I already perceived some cracks in the freshness and energy of the whole Death Metal movement. Mostly all the big bands of the time had released either mediocre or outright ludicrous albums so my expectation for this new Deicide album were high. But with a grain of salt firmly in my grasp. I started to notice something out of place when I started seeing boys in my school buying Sepultura merchandise and I mean, typically average guys all in a sudden were asking me about Mayhem and Cannibal Corpse, my bullshit detector was very high at the time and this time it was itching terribly. Nothing could have prepared me with the complete delusion that was this album, however. Where the fuck were the dark blades of sound ripping through the flesh of my ears. Where was the eerie gurgling of blood dripping from Benton’s vocals? Why the fuck did they have a comic book Jesus on the cover? What were those ridicolous song names? What the fuck was wrong with the vocals here, and more that everything else, when does the album START? Hearing this shit was more or less like going through a torture of increasing disappointment. By the time I heard “When Satan Rules His World” which is a song you can basically dance at at the prom, I understood the band was completely lost. The line up was the same but the songs were just plain tarantellas with heavy distortion. No punch, no in-your-face brutality, just happy dance songs for the brainless college monkeys like the subhumans in my school. When these “regular guys” came to me asking if I heard this fantastic album, hoping they could enter my circle of friendship I understood Death Metal lost another big piece on the way.

Vote: 3/10 (could be 5/10 if it was not released after “Legion”)

Serpents Of The Light, 1997


By the time this album was released I was pretty much disillusioned and definitely done with Deicide, the sound of the tammuriata at the shore of the gulf of Naples still haunting my sleep.  Despite my abysmal expectations, I nevertheless found this album more than decent. The deicide-style song structures are on this album completely turned upside-down. The sound is still powerful but there is an added share of speed: instead of going back to their old sound they preferred to walk a much more typical path but the overall product was OK in my book. Sure the solos are not product of the schizoid rapture of their first two albums, and the consolidated American “chliché” sound was way more definite here but, despite not being as original as before, I dug this album pretty much. It’s fast, it has a couple of very powerful choruses and, while it has still ridicolous lyrics  somehow I don’t find them as cheesy as the one before. The cover art is so ugly it challenges Morbid Angel of this period, really what the fuck was going on in their mind when they designed it is beyond me.

Vote: 7/10

Insineratehymn, 2000


Things changed once again here, taking a simplified, sometimes almost minimalist take. My problem with this album is that you can’t be pushy if you rely on sound compression to create powerful music. If you try to play this stuff on shitty gear you get basically nothing in your hand. Mixing in slow, measured riffs technically might have added some extra punch to the album, especially after the super fast “Serpents” before, but I don’t know, Deicide’s major leverage is certainly not in the quality of the single riff. They’re no Incantation nor Asphyx, and when you chop down a monolithic in your face sound like theirs in such a way the result is definitely not particularly exciting, and certainly not inspired. I haven’t even bought this album, Deicide being more or less a closed chapter for me, especially after the following one.

The nicer thing about this album is probably the cover art, for once a little classy, following the dictations of this more austere approach.

Vote: 6,5/10

In Torment In Hell, 2001

In Torment In Hell

Derivative and uninspired are certainly the first words that come up when looking for adjectives for this album, which follows the lines of the preceding one but trying nonsensically to reheat some of the older shit. This idea isn’t particularly hidden either, considering the cover art is a mix of all the previous album covers. Unluckily not always mixing good ingredients you get the sum of all parts. Music, like cuisine, is a matter of good taste, balance, daring end enthusiasm, all four elements completely missing here. Last time I heard this album was the week it was released, and I am not giving it a new listen to refresh my memory on some lossless sound clips I deservedly downloaded illegally. Fuck it, you don’t really want me to actually PAY for this stuff? My memories were pretty much accurate however, no real juice to be squeezed from this dead body. The only thing I appreciated is the solos are quite decent as are some of the riffs, but arranged in this way you don’t really get much. I am not sure I remember correctly, but I read somewhere that the band itself pretty much sneered at this album too, since it was just a rushed up (1 mere year is actually little for songwriting unless you’re Motorhead) attempt at wrestling out of Roadrunner for which they had a contract to fulfill. In any case, let’s just skip this album, it’s not worth much.

Vote: 5/10

Scars Of The Crucifix, 2004

Scars Of The Crucifix

I reviewed this album before with a little added enthusiasm 10 years ago now (ah, being young ah ah). In any case I still believe this album was a good come back, especially after the failure of the amazingly generic last one. This is an album that I got as a promo from Earache back then, so I managed to listen to it on a normal medium, ah. It’s a rather good comeback in my opinion, finally balanced and spot on. Hoffman/1 has learned to write good solos but has the taste to cut them short and leave his brother Hoffman/2 lead the way the classic Deicide way; pummeling, chugging, crushing without remorse. All the arrangements on this album sounds just very right in my book, the vocals are in perfect shape and there is a good load of good old screams adding a layer of malignancy not present since maybe the Amon days (“Legion” is an album that stands on its own). The cover art is also finally something work taking some minutes having a look at. All in all, I deemed this album quite fine, probably the best of their second life.

Vote: 8/10

The Stench Of Redemption, 2006

The Stench Of Redemption

In 2006 Earache sent me the promo for this one as well which I listened to almost entirely on my car stereo complete with those unpleasant anti-piracy interruptions and obviously missing lyrics and complete packaging. I think that “The Stench Of Redemption” is potentially a very good album too for Deicide 2.0, the only thing I find completely out of place are these over the top solos, completely out of place in this mix of crushing brutality, possibly just there for the ego of Santolla. Who cares for this shit is beyond me, I never saw any overlapping between power metal and Death Metal. Yet Deicide’s new guitarists succeeded in evolving the sound of the band that lead us to a new territory and it somehow works out quite decently. I really do like the way the rhythm guitar throws in the mix an incredibly varied plethora of experiences, still managing to fill every second with layers over layers of sound and, thanks to a monstrous drumwork, leaves no time for breath. Mature in an unpredictable way, I found this album ripe and juicy, with just too much sugar on the lead solos.

Vote: 8/10

Til Death Do Us Part, 2008

I caught up with the latest 3 Deicide album just recently after a long pause of complete disconnection from their works (and well, many other bands as well), preferring more obscure, less promoted releases. What I think of this album is that this is possibly a second try at Insineratehymn (meaning a more thoughtful, slower, more evocative version of Deicide) that this time fell short for the opposite reasons. While the previous two albums were complex in a ceremonious but still orchestrally balanced way, I can’t really find any convincing connective tissue between the songs on this album. Shaking off my eyes the horrendous embossed effect on the logo (which might be forgiven to the band members, but not to the graphical dept of Earache) is difficult, but swallowing the whole plate has been even harder. It’s like a French dish, apparently good but relying most of its taste to butter and fat. You can’t really make a good album throwing all the shit that your creative skill brings up to your mind, some songs really sounds like they’ve been sewed together with thick twine. All in all however, I can’t say it’s totally shit either, just some album that can’t probably pass the test of time.

Vote: 6/10

To Hell With God, 2011

To Hell With God

Could be the somewhat insipid, bland sound but this albums is lacking completely one of the old trademark Deicide aspects: darkness. Even when blasting full force the band always managed to sit in the gloom of Satan’s ever reaching hand. Not here, at least from the way I am perceiving this shit. Even he screams that once added a level of enraptured folly don’t really make it, and some riffs (hear the song “Conviction”) are just plain boring old stuff. After such a a marathon, going through the whole band discography, I might be a little exhausted but this stuff just doesn’t click. The formula is more or less the same of the one before, but this album sounds incredibly prosaic and useless, not just unrefined. The cover (oh my, the embossing) is good stuff, not so the music within.

Vote: 5/10

In The Minds Of Evil, 2013


All the previous intricacies have been unraveled on this album. Deicide this time chose to play fair showing everything that is going on in their songwriting all across this album, getting rid of choruses and screams among many other refinements. The main problem is that under the hood there seems to be very little left. This album sounds totally routine to me, sometimes the levels of dullness and horrible chugging of “Once Upon The Cross”. I never heard Deicide to utterly flavorless. Not a bad album if it was a teenager demo. For a Deicide album however, the curtains seem to have been pulled close once again. I gave them for dead more than once however, so who know what are they going to show us next time.

Vote: 5/10

That is all. It’s been a nice trip, if completely exhausting. I perfectly know many of you are going to be offended by these reviews, but go ahead and make your won blog, ah ah! In any case I enjoyed writing this. If you have a band that you’d like to get covered in a similar manner let me know. I basically NEVER review stuff that I don’t have in physical format, but I am prone to do it for these biographies for very shitty albums.

Necrospective: GOD MACABRE

I am going to see the band live in a few days  I have seen this band live a few days ago so I thought I’d give a spin to these old records once more before the show and share a little bit of thoughts on this great stuff.

The 7" on Corpsegrinder and the MBR Cd

The 7″ on Corpsegrinder and the MBR Cd

Macabre End “Consumed By Darkness” demotape/7″

The band started out as a group with a swedish name – which I THINK roughly translates to “The bottom of the bottle” – which I have never had the chance to hear. In any case that’s not of any relevance as this demo is where the good shit started to grind. Macabre End’s (and God Macabre too) sound could be described as a thick blend of Carnage chunky riffs, Paradise Lost harmonies and some Autopsy sickness here and there. Being Autopsy my all time fave band, with Carnage in the top five right behind, I think it’s superfluous to say I pretty much worship this kind of stuff. To simply define them as melodic Death Metal would be blasphemous since the real core of these songs is brutal, downtuned and straightforward, with a rather powerful vocalist on top of it all. Where the (early!) PL influences I mentioned before could be heard is not within the single riff but mostly in bridges and well distinct sections so that no overall brutality is compromised and at the the same time they add variety to maintain freshness and substance, The demo tape DOES have a different sound actually but for once the new mix on th 7″ does not compromise the face-forward brutality of the Swedish sound and I would dare to say for once that some keyboards, when properly placed, do nothing to diminish it either. The songs are the same though and Corpsegrinder in my opinion used to delived yet another good bullet here for its short life span.

God Macabre “The Winterlong…”

The band changed name here for a MLp on that weird label Mangled Beyond Recognition which also gave us orgasms with releases like Crematory, Insanity and the vinyl repress of Grave’s awesome “Anatomia Corporis Humani”. The sound didn’t flinch at all from the previous recordings as we still have the truculent, tenebrous, Carnage core (I can’t really play a shit but I would bet at least two of these riffs are also present on “Infestation Of Evil”) with slow, grinding and malignant passages typical of Autopsy and those earlier British attempts at a more melodic (but not mellow) form of gothic-Death. At 30-score minutes, it is considered a Mini Lp even if in the post-Reign In Blood era I guess we could have stretched it a bit and define it a borderline full-length. One of the song (“Spawn Of Flesh” which from what I read has supposedly a “vegan” message) has been brought here from the Macabre End days. I don’t have the Relapse version but from what I read they included the Macabre End demo in that new edition. The guy in Nuclear Winter told me years ago he was considering releasing this album on vinyl. How it ended up being pressed by a different label instead is a story I have no information about. The cool news is Relapse is pressing its own vinyl version this year with a limited edition colored vinyl only for their mailorder so if you missed it back then this is the right time to act. The diehard version comes with a cool set of action figures as well. Just kidding, eh (that is Grave).

“Eve Of Souls Forsaken” Live

We are living in hard times, where you have to be quick or very rich to get all the cool shit that gets released (or re-released). This is a limited edition live from 1991 which saw the light a couple of years ago and gets sold nowadays for over 100 bucks. Alternatively you could be a dick like me, and don’t give a fuck about live albums, ah ah! I admit it would be nice to have anyway. I have never heard it so I can’t give you much more detail on this release.




Guitarist Ola used to write a fanzine called Suppuration, some nice guy scanned it and created a gallery on VKontakte, download it here if you want to have a look.

2013 Concert in Italy

Like I said before I was lucky enough to attend to their show in Brescia (which I have been told was their first show ever out of Sverige)  during which they really managed to crush everything. The sound was massive and the vocalist still has the same deep, powerful vocals. Have a look yourself at the show, I took these videos with my phone in a rather unfortunate position, so please forgive me for the sound quality.