"Cannibal Corpse - Evisceration Plague"
Cannibal Corpse have been a guilty pleasure of mine since about the 4th grade.
Ever since hearing "Butchered", I was completely enticed and ever-wondering onto 'what' (or 'who') they were actually getting at. The answer if perhaps less obvious than many make it out to be, but it's again, one that's taken for granted by many so-called metal fans. The answer doesn't strictly lay in lyrical content alone (the same lyrics that have generated them so much scorn over the past years), but also in musical content. With this album ("Evisceration Plague"), Cannibal Corpse have remained true to their recent styles (which isn't necessarily a bad thing).
"Priests of Sodom" opens with a coincident riff (perhaps more spatially and technically-oriented than the title track off of their earlier, most recent album) that is repeated and then taken back to the chopping board yet again (a commonly occurring facet of this particular album) for brief re-arrangement (along with re-construction, of course). One thing that I should note, while I'm at it, is that is you go into listening to this album with the mentality that Cannibal Corpse has changed since 2006, you will be disappointed. This album is perhaps, Kill part 2 (if not a direct carbon copy). On a lighter note, this death metal plethora is soon replaced by a more ear-friendly tone/intro as heard in "To Decompose". Here, Fisher accentuates his 'barking' vocal style (by this point, such a style is archaic, not only for this particular band, but for many other bands, especially from the Florida scene) to perhaps the fullest degree of measure. "Beheading and Burning" represents the more psychomechanical side of CC (perhaps best expressed in the early days, with Barnes) with an onslaught of tweaks and blast beating.
This particular track is perhaps more short and straight-to-the-point than the previous efforts of this album (which is a good thing, especially considering the degree of experimentation done here, on the part of CC). "Carrion Sculpted Entity" opens with a vicious, chugging-style riff that is accompanied by the occasional tip of the hi-hat before Fisher spews forth his usual mumble through a haze of simple bass lines and double bass drumming. Overall, the transitions here are smoother than the precedents, showcasing musicianship and songwriting ability more than anything (and better than any existing track off the album).
The final track, "Skewered From Ear to Eye" is one to raise the eyebrows of even the most keen of metalheads. It is, again, reminiscent, lyrical-wise, of the offending poetry written by none other than Chris Barnes. It is again, another infectios groove... there seems to be a pattern here.
Overall, this is an album worthy of a mention here and there (though it's certainly more than likely to sit in the corner sooner than later). After a couple of plays, one begins to realize the full maturity pumped into this album. This is not something that can be achieved through brief, 'session-like' listens from whoever is at the controls. At times, it seems a little repetitive (even to those with a short attention span) but if you take this album for what it is... the graphic, horror inspired thematic content fused with the onslaught of chugging riffs, it is better than at first thought. There is certainly no explanation necessary (or no deciphering on the part of the listener) for the lyrical content (assuming your familiar with the earlier works from the band).
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About The Writer
My name is Andrew Muller. I love creative art, music, television shows, movies, video games, and a good story.
If you had to find me somewhere, you would probably find me down at O'neils home cooking eating an organic sweet-potato bun breakfast sandwich with ham.
Among my friends, it's a "Muller Classic Move" to eat Mcdonald's at 2am because it's cheap and open 24/7. The joke here is that I'm an idiot.
I play drums, guitar, piano, and I write & perform music for My Goal Is Telepathy. Take a listen to the latest sound here.