ALBUM REVIEW: Contrarian, "Their Worm Never Dies"

By: Richard Maw

Album Type: Full Length

Date Released: 15/03/2019

Label: Willowtip Records

if you miss latter day Death, feast your ears on Atheist or love the Cynic debut then this will be music to your ears, because this is impressive stuff.

“Their Worm Never Dies” CD//DD//LP track listing:

1). Vaskania (The Evil Eye)

2. Exorcism
3. My Curse
4. The Petition
5. Among The Misled
6. Their Worm Never Dies
7. Whomsoever Worships the Whiteworm

The Review:

Technical and progressive death metal is surely an acquired taste- particularly when it comes with the jazzy inflections that bands such as Contrarian deliver by the bucketload. I reviewed the debut “Polemic” back in 2015, but I missed their sophomore effort, “To Perceive Is To Suffer”. 

So, what have the Rochester, New York, based outfit come up with this time around? Well, it once again references the past greats of the niche genre; latter day Death and Cynic are both in there. Naturally, George Kollias being behind the kit is a huge draw for many DM heads anyway. However, this is no Nile re-tread as he plays technical and jazzy; he's using brushes at the start of “Exorcism” for satan's sake! The sound is pretty great- quite spacious and not too slick. In fact, there is audible hiss and an almost demo like quality to the sound. It's not compressed beyond believe and it sounds authentic, old school and “real” in a way that albums made on pro tools grids alone do not. The drum sound may take a little getting used to, but that is for the listener to decide on. Don't expect boxy and muted sounds... but don't expect zero triggers either!

As the record progresses, it's clear that a fan of the first album will like this one; the leads that open “My Curse” are great, the vocals are another selling point; closer to Schuldiner than Corpsegrinder and they help by dialling down the brutality- this is not hyper-aggressive stuff. The riff passages are excellent and the clean intro of “The Petition” segues perfectly into some mesmerising riffage.

The progressive riffing of “Among The Misled” coupled with the off kilter rhythms does a great job of making the listener pay attention (cracking bass work, too). The title track is three minutes of melancholy vibes and keen lead work- an unexpected twist in the album's tale. The closing eight minutes of “Whomsoever Worships The Whiteworm” is the most extreme track on here, in terms of structure, delivery and sounds. The bass is super dexterous the time changes come thick and fast and the playing is sublime. 

To sum up, then, this third album is a highly credible slice of technical and progressive death metal. This is for all fans of any of the bands mentioned here in comparative terms. Just like the debut, if you miss latter day Death, feast your ears on Atheist or love the Cynic debut then this will be music to your ears. Impressive stuff. 

“Their Worm Never Dies” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Apocrophex, “Æternalis”

By: Richard Maw

Album Type: Full Length

Date Released: 18/05/2018

Label: Independent

The best kept secret in technical death metal? Maybe not for much longer- such is the dark and malevolent atmosphere of this album, I am confident that Apocrophex will be mentioned in the same breath as the big players of the genre.  This record is a must have

“Æternalis” CD//DD track listing:

1). Where Temples Are Older Than Trees

2). Implanted Genesis

3). Thwarting Dogma

4). The Oracle Room

5). Sovereign Symbol

6). Pareidolia

7). A Sentient Edifice

8). Neglected Megalith

The Review:

Apocrophex are a two man tech death tour de force from New Jersey. Their last record, “Suspended From The Cosmic Altar”, really impressed me back in 2015, so when the new album popped up in my inbox, I couldn't wait to hear it and get into the band's latest musical vision.

Sure enough, the band is on top form here. This is tech death of the most death metal variety. The lowest of growl vocals, serpentine riffage and labyrinthine song structures are the order of the day here. The vocals are mixed quite far back but at the right level to compliment the songs. Justin Buell does a phenomenal job on all instruments, while the vocals of Pete Colluci are integral to how the album plays out.

A special mention must be made here for Kevin Paradis who is playing here as a session drummer. His incredible work is a vast improvement over the programmed drums of “SFTCA” and really gives the record a huge boost- what a performance as well, almost inhuman. The atmosphere here is darker and more sinister than the debut and Buell works hard to make sure the bass and guitars have their own personality rather than just everything doubling everything else.

For anyone with an interest in tech death, this record is a must have. It is very brutal, very complex, very heavy and very technical. As is often the case, picking stand out songs on a tech death album is not easy, so instead I can reliably inform you that everything from “Where Temples Are Older Than Trees” to “Neglected Megalith” represents the very apex of the sub-genre. For this album to have come from the vision of a two piece band is quite an achievement.

I have no idea if Apocrophex have any inkling to get a full time drummer and hit the road, or if they are happy creating their sonic landscapes in the studio. Listened to in full, the album is exhausting and breathtaking in all the best ways so either option is surely there for them.

The best kept secret in technical death metal? Maybe not for much longer- such is the dark and malevolent atmosphere of this album, I am confident that Apocrophex will be mentioned in the same breath as the big players of the genre- they demonstrate just how far things have come from the days of Atheist, Cynic and Death whilst maintaining  a solid link to those classic bands by way of pushing the boundaries and the physical possibilities of what can be played.

“Æternalis” is available here

Band info: bandcamp|| facebook

INSTRUMENTAL INTERPRETATIONS PART VIII: Vipassi – “Śūnyatā”

By: Phil Weller

Album Type: Full Length

Date Released: 20/01/2017

Label: Season of Mist

A less conservative approach to progressive tinted death metal, they pepper their songs with plenty of other musical flavourings. From the avant garde shredding on ‘Jove’, to the turbo charged, time signature metamorphosis assault of ‘Sum’, each track flaunts its own distinctive character. So if the likes of Animals As Leaders, Death, Obscura and Cynic appeal to you, then prepare for your taste buds to be tantalised.

“Śūnyatā” CD//DD//LP track listing:

1). Gaia

2). Benzaiten

3). Jove

4). Sum

5). Elpis

6). Paradise

7). Samsara

The Review:

“Instrumental music,” this record’s accompanying press release concludes, “traditionally has a harder time in metal as in other genres. All too often, virtuoso musicians have used their talent mainly to stroke already massive egos. Yet bands like Animals As Leaders have demonstrated that ambitious skills and passionate song-writing can be fused into something greater, which appeals far beyond the grudging respect of colleagues.”

Indeed, while Vipassi drag their instrumental music down more deathly, but ultimately bewildering complex hallows reminiscent of Animals As Leaders – who have also featured in this column – that band has been helping people consider the genre of late. The band’s surging popularity is contradictory to what makes the charts, of both mainstream and metallic varieties, and as a result is opening the door of opportunity to bands like Vipassi.  

The band was born from jam sessions in 2009 between guitarist Ben Boyle and members of Australia’s Ne Obliviscaris – drummer Dan Presland, bassist Brendan Brown and guitarist Benjamin Baret. Soon, as the press release goes on to say, they “settled on an instrumental style that captured the openness aimed for to allow any listener to interpret and connect with the material subjectively. Their project represents a desire to explore beauty and darkness in all its shades, through melodic and complex compositions”.

Just like how the bass driven sounds of Obscura are treading on the turf Death once carved out as their own, continuing their legacy in a heavy but imaginative manner, Vipassi too are carrying the torch. A less conservative approach to progressive tinted death metal – and Chuck Schuldiner was anything but conservative – they pepper their songs with plenty of other musical flavourings. From the avant garde shredding on ‘Jove’, to the turbo charged, time signature metamorphosis assault of ‘Sum’, each track flaunts its own distinctive character.

Like Obscura too, the bass is powerfully prevalent. Brendan Brown’s playing refuses to just steady the ship, it can fly off the handle at any conceivable moment, meandering like a lost child in a supermarket, but played with an impressive conviction, grace and musicality belying of its disregard of convention. He is there secret weapon. 

Where a singer may add interest and that all-important record selling earworm, here they don’t so much as compensate for their lack of vocals by shifting time signatures every which way as they do utilise the void therein. Their venomous songs have many twists in their tails; they can pirouette on a knife edge, flip upside or segue from primitive passages to ones of airy, chilling calm. The change comes as sudden, but never feels anything but smooth.

Listen with headphones and these compositions become wholly, terrifyingly immersive. ‘Elpis’ is one such example. Above all an interloping song, something like this belongs more on a film score than it does a death metal album, but its skin crawling aesthetics stand strong; it gives the album a hellish death.

It leads you blindly into the closing track ‘Samsara’ which best merges their thundering metal, with guitars and bass tightly syncopated and resembling the sound of alien warfare, with hypnotic and creepy atmospherics. They weave in and out of the battle, sewing a vast and extravagant canvas.

Something about the music of Animals As Leaders pierces through the threshold from underground music to something more entertaining, rewarding and accessible – even if its complexity is anything but. Vipassi however, don’t come across as a band who can attain such contradictory achievements. But what they do is extremely appealing, so if the likes of Animals As Leaders, Death, Obscura and Cynic appeal to you, then prepare for your taste buds to be tantalised.

Śūnyatā is available here

Band info: bandcamp || facebook

Contrarian - "Polemic" (Album Review)

By: Richard Maw

Album Type: Full Length

Date Released: 20/11/2015

Label: Willowtip Records

Far more nuanced than Nile, this is a tour de force of modern tech death, done in a way which recalls old school tech death(!). No blasting, no mindlessly labyrinthine and continuously brutal riffage. What you get is jazz infused death metal with the kind of subtlety not heard for quite some time.

“Polemic” CD//DD track listring:

1). Polemic

2). Need for Apathy

3). Retrieval

4). Foreknowledge

5). Predestined

6). Libertarian Manifesto

7). Diogenes at Delphi

8). Nothing is Everything

Contrarian is:

Jim Tasikas | Guitars

Ed Paulsen | Bass

Brian Mason | Guitars

Leon Macey | Guitars (Lead)

Cody McConnell | Vocals

George Kollias | Drums

The Review:

Death metal- of the progressive/tech infused kind is what you will find on this record which features the inimitable George Kollias on drums (whose right foot speed is now up to 280bpm, apparently!). It will come as a surprise to none of you that  the production is crystal clear, the bass work sublime and jazz inflected and the vocals very low indeed (think Nile). The opening title track sets the tone, albeit with some blast type sections, while “Need for Apathy” and “Retrieval” further cement the way the record is going to be (there are some interesting sections therein which may surprise you a little, too).

The likes of “Foreknowledge” and “Predestined” don't stray too far from the Atheist meets Nile meets late period Death template, while the excellent “Libertarian Manifesto” features some fantastic playing from Kollias and is a real stand out. Excellent lead work makes this shape shifting track an absolute joy. Far more nuanced than Nile, this is a tour de force of modern tech death, done in a way which recalls old school tech death(!). No blasting, no mindlessly labyrinthine and continuously brutal riffage. What you get is jazz infused death metal with the kind of subtlety not heard for quite some time.

“Diogenes at Delphi” is complex and dreamy, with swathes of synth here and there and excellent use of dynamics. The time signatures stray well outside of 4:4 and the track meanders along a very twisted path indeed. The riff at the four minute mark is excellent, by the way, as is the clean and airy section that closes. “Nothing is Everything” will be familiar to anyone who listened to “Individual Thought Patterns”... as it is a cover from that absolute classic of death metal. A finer album to find in the genre is a hard task (“Symbolic” just pips it, in my humble opinion) and Contrarian really do the song justice. The reproduction is faithful with DiGiorgio and Hoglan's parts being admirably laid down. The vocals go low, in keeping with the rest of the album, and the guitars are, forgive me, set to stun.

I enjoyed the record hugely- non aggressive death metal with more than a nod to Atheist, Cynic and Death, played by some of the best in the business. I recommend giving it a go, even if you have never liked death metal or lost interest in the genre at some point in the 1990's. It will take you back and it may even take you to some new musical territory as well.

“Polemic” is available here

FFO: Nile, Atheist, Cynic, Death

Band info: facebook | official | twitter

Krallice - 'Ygg Huur' (Album Review)

By: Chris Bull

Album Type: Full Length

Date Released: 30/07/2015

Label: Independent |

Gilead Media | Avantegarde Music

All the songs here rarely retread the same path, instead, it twists and turns like an alligator with a deer in it's jaws, disorienting and crushing.  Indeed, whether Krallice have invented a new genre or not, what they've created here is a bookmark in the progression of black metal.

‘Ygg Huur’ CD//DD track listing:

1) Idols
2) Wastes of Ocean
3) Over Spirit
4) Tyranny of Thought
5) Bitter Meditation
6) Engram

Krallice is

Nicholas McMaster | Bass, vocals

Lev Weinstein | Drums

Colin Marston | Guitar

Mick Barr | Guitar, vocals

The Review

Have Krallice invented a new genre on 5th album 'Ygg Huur'? Is technical black metal a thing? Progressive black metal? How about blackened technical death metal? Whatever it is, 'Ygg Huur' is a little left field but my word, it's fucking good!

Opener 'Idols' is a truly majestic beast, almost disrhythmic, the melodies move in differing directions, like cogs in a wheel, all working towards the same goal; to fucking shred! All the songs here rarely retread the same path, instead, it twists and turns like an alligator with a deer in it's jaws, disorienting and crushing. Standout tracks 'Wastes Of Ocean' with it's arpeggiated guitar licks and 'Tyranny Of Thought' with it's crushing intro, sound like a cross between Cynic and early Emperor while avoiding pigeonholing. The last song 'Engram' sees them cram more musical ideas into its five and a half minutes than most bands do in entire albums (or careers).

This is a difficult album to get your head around but once you do, you'll truly reap the rewards. Whether they've invented a new genre or not, what they've created here is a bookmark in the progression of black metal.

‘Ygg Huur’ is available here

Band info: bandcamp| facebook

Cynic - Kindly Bent To Free Us - Album Review

Album Type : Full Length

Date Released : 14/2/2014

Label : Season of Mist

Kindly Bent Us Free, album track listing :

1. True Hallucination Speak
2. The Lion’s Roar
3. Kindly Bent to Free Us
4. Infinite Shapes
5. Moon Heart Sun Head
6. Gitanjali
7. Holy Fallout
8. Endlessly Bountiful
9. Earth Is My Witness (Deluxe CD Book exclusive bonus track)

Bio :

CYNIC finally return with their long awaited second full length since their 2007 reunion. "Kindly Bent to Free Us" is at the same time a natural continuation of best-selling album "Traced in Air" (2008) as well as a collection of new ideas incorporating new elements distilled from their musical experiments conducted on the two EPs "Re-Traced" (2010) and "Carbon-Based Anatomy" (2011). Instead of simply repeating their successful formula, CYNIC dare to expand their horizon into even more complex soundscapes that demand careful and intense study before revealing their full astonishing beauty. All the trademarks that gained the American progressive pioneers their cult status are still there: forward-thinking riffing fused with the rhythmical intricacy of Jazz and the melodic complexity of Progressive Rock.

The alchemy of front man Paul Masvidal and rhythmaniacs Sean Reinert and Sean Malone should equally appeal to CYNIC enthusiasts as well as connoisseurs of PORCUPINE TREE, OPETH, THE PINEAPPLE THIEF, KATATONIA, and ULVER. CYNIC was formed in 1987 during the burgeoning rise of Death Metal in Miami, Florida before relocating to Los Angeles, California. The impressive technical abilities of the band's founding members even led to Paul and Sean Reinert being recruited by Chuck Schuldiner of DEATH and led to the inception of the 1991 landmark album "Human". With their first full-length "Focus" (1993) CYNIC created another milestone of Progressive Metal, but disbanded the next year to explore different musical paths. Now these genre leaders offer you "Kindly Bent to Free Us". Listen well

The Band :

Paul Masvidal | Vocals, guitars, Keyboards
Sean Reinert | Drums
Sean Malone | Bass, Stick

Review :

Prog bands have always been the outsiders. They are the ones who make patience-testing, drawn out songs which incorporate elements of everything and anything into their sound, veer off into obscure timings and refuse to adhere to anyone’s musical rules bar their own.

Formed in Florida in 1987, Cynic’s tale is no different. In their early days, they were surrounded by a blossoming tidal wave of death metal bands that had turned the sunny coastal state a deathly shade of black. A band with lighter, more progressive tendencies like Cynic didn’t fit the mould, hence their relocation to Los Angeles.

From their they built a cult following and, since their reunion in 2007, after 13 years working on other projects, they returned a more refined and slicker machine, resulting in their biggest selling album to date in 2008’s Traced In Air.

A further 6 years down the line and the expectancy for something special is justifiably huge and, while Kindly Bent Us Free may not blow your balls off, there are plenty of great moments to wrap your ears around.

Namely, The Lions Roar, a punchy song, driven by a Rush inspired riffs which pack both progressive aesthetics (meandering bass, vocals that float about in the atmosphere and diminished chords aplenty) as well as a lofty, catchy chorus.

Infinite Shapes meanwhile is armed with Opeth fashioned octave riffs and Porcupine Tree clean-cut guitars. It’s a song that typifies the band’s eye for dynamic eccentricity as driven passages weave in and out of those clean guitars, while the whole thing is wrapped in another memorable chorus.

There is however, a distinct lack of a melodic centrepiece on other tracks. As good as they are, with their oceanic soundscapes and trippy dual harmonies, some songs just seem to come and go. Yet, when those big choruses come along, they seem to bite that little harder as if to make up for their previous omission.

Gitanjali is a fine example of this. For the guitarists out there, its riffs and solo deserve great admiration, but yet again it’s the chorus that leaves the biggest mark.

Bassist Sean Malone is particularly impressive on the record. His jazz infused bass lines work in both holding a rock sold rhythm as well as flying all over the place, dictated by their player’s technical Excellency. Locking snugly into Sean Reiner’s equally as disjointed rhythms, they allow guitarist/vocalist Paul Masvidal to lead you to far off worlds with resonate chord progressions and velvet smooth vocal lines that keep on rising into the ether.

And that is where you’re left as the album draws to a close; lost somewhere between planet earth and zero gravity – this is a record that transports you away from the doom and gloom of everyday life and for that alone, it is well worth a listen.

Words by : Phil Weller

You can buy it here

For more information :

www.facebook.com/CynicOnline

The Sludgelord News : Cynic Stream New Album

Legendary progressive rock innovators CYNIC featuring guitarist and vocalist Paul Masvidal, drummer Sean Reinert, and bassist Sean Malone are now premiering their forthcoming new album "Kindly Bent to Free Us" in full via the following media partners:

Metal Hammer (DE)
Inferno (FI)
Coreandco (FR)
Rock Hard (IT)
Loud (PT)
Prog (UK)

"Kindly Bent to Free Us" is scheduled for release on February 14th 2014. The album will be available as a CD-Digipack, a limited edition collector's box, limited edition Double-LPs in various colours, and digitally. All formats can already be pre-ordered through the Season of Mist e-shop.

The artwork for "Kindly Bent to Free Us" has been created by the sadly late long-time CYNIC artist Robert Venosa. Artwork and tracklist can be viewed below:

1. True Hallucination Speak

2. The Lion’s Roar

3. Kindly Bent to Free Us

4. Infinite Shapes

5. Moon Heart Sun Head

6. Gitanjali

7. Holy Fallout

8. Endlessly Bountiful

9. Earth Is My Witness (Deluxe CD Book exclusive bonus track)

 

The band's highly-anticipated new record "Kindly Bent to Free Us" was produced by CYNIC at L.A.'s Perfect Sound Studios and engineered by Jason Donaghy (BAND OF HORSES, FEIST, ROB ZOMBIE, RYAN ADAMS). The mix was done by R. Walt Vincent (PETE YORN, LIZ PHAIR, TOMMY KEENE) and the mastering by Maor Appelbaum (SEPULTURA, CATHEDRAL, PHILM, INQUISITION).

Drummer Sean Reinert remarks about the new material: "...It's a bold new sound for CYNIC and marks a gigantic leap in the band's progression. We've had a lot of time to let this material develop and gestate, and it finally feels ready to be unleashed on the world. I've been in trio mode with Malone and Masvidal flushing out a zillion and one details, and couldn't be happier about what's happening with these songs. They are truly alive!"

Line-up
Paul Masvidal – vocals, guitars, keyboards
Sean Reinert – drums
Sean Malone – bass, stick

www.facebook.com/CynicOnline 

Source : Season Of Mist

The Sludgelord News : Cynic Premiere New Song

CYNIC premiere new song!

Legendary progressive rock innovators CYNIC have premiered “True Hallucination Speak”, the opening track of their forthcoming new album, ‘Kindly Bent to Free Us’ (due February 14th) in the shape of a lyric video, which is now streaming via the following media partners:

Terrorizer (UK)

Rockerilla (IT)

Rock Hard (DE) - audio only

The band's highly-anticipated new record ‘Kindly Bent to Free Us’ was produced by CYNIC at L.A.'s Perfect Sound Studios and engineered by Jason Donaghy (BAND OF HORSES, FEIST, ROB ZOMBIE, RYAN ADAMS). The mix was done by R. Walt Vincent (PETE YORN, LIZ PHAIR, TOMMY KEENE) and the mastering by Maor Appelbaum (SEPULTURA, CATHEDRAL, PHILM, INQUISITION). The cover artwork has been created by the sadly late long-time CYNIC artist Robert Venosa.

1. True Hallucination Speak
2. The Lion’s Roar
3. Kindly Bent to Free Us
4. Infinite Shapes
5. Moon Heart Sun Head
6. Gitanjali
7. Holy Fallout
8. Endlessly Bountiful

9. Earth Is My Witness (LTD box set bonus track)

CYNIC previously released lyric videos for “The Lion’s Roar” and “Kindly Bent to Free Us”. 

‘Kindly Bent to Free Us’ will be available on Digipak CD, limited collector’s box, transparent clear gatefold double LP limited to 400 copies, transparent orange gatefold double LP limited to 200 copies, semi-transparent bronze gatefold double LP limited to 150 copies, and regular gatefold double LP on black vinyl. All formats are available for pre-order on Season of Mist’s e-shop!.

Source : Season of Mist

ALBUM REVIEW: Carcass - "Surgical Steel"

By: Richard Maw

Album Type: Full Length

Date Released: 13/9/2013

Label: Nuclear Blast

“Surgical Steel” CD//DD//LP track listing:

 

1). 1985 (1:15)

2). Thrasher's Abattoir (1:50)

3). Cadaver Pouch Conveyor System (4:020

4). A Congealed Clot Of Blood (4:13)

5). The Master Butcher's Apron (4:00)

6). Noncompliance to ASTM F 899-12 Standard (6:06)

7). The Granulating Dark Satanic Mills (4:10)

8). Unfit For Human Consumption (4:24)

9). 316 L Grade Surgical Steel (5:20)

10). Captive Bolt Pistol (3:16)

11). Mount Of Execution (8:25)

The Review:

Carcass returned to the stage over half a decade ago now, but this album is the first of their studio efforts since Messrs Steer and Walker were musically reunited. The last record that Carcass (with original drummer Ken Owen) put out was” Swansong” way back in the mid 90's. I remember being distinctly underwhelmed by it at the time and the benefit of distance has not really improved it. What preceded it, though, were two of the finest albums in metal's history. Both “Heartwork” and “Necroticism...” were bona fide classics.

I had a copied tape of “Heartwork” shortly after its release in 1993, probably the first extreme metal album I ever heard- unless you count “Chaos AD”- and was blown away. In many ways, it can actually be said to have changed my life. Never before had I heard vocals that harsh or beats that fast. Naturally, I heard their earlier works in the months and years that followed and although I enjoyed “Necroticism...” hugely and “Reek...” and “Symphonies...” to a lesser extent, they never truly compared to “Heartwork.” (For me, I know others would disagree). That album was, and is, a monument to power, huge sounds, harsh vocals... and melody. Indeed, while there were progressive bands around in the death metal genre at the time (Death! Cynic! and, er, other lesser known bands) melodic refrains would not really come to the fore until maybe “Slaughter of The Soul” a couple of years later.

The point of this lengthy introduction is to state that Carcass are one of the most influential death metal bands of all time due to their pushing the boundaries of the genre in several ways: more melodic, more brutal, better songs, superb production and so on. The question is, then, does this album cut it? The answer is a resounding yes. For that we can all breathe a sigh of relief; too many times “reunion” records have been abysmal failures/boring re-treads. We get Colin Richardson producing again and he does a sterling job. Crystal clear sounds; no click tracks no “computers playing what the musicians cannot” that creep into a LOT of death metal and deathcore these days. The band themselves were explicit about this, apparently, and it shows as the playing is sublime and precise yet organic at the same time.

Those worried about Steer having played in the southern fried Firebird for the last few years need not worry; this is very much Steer's album and he absolutely excels himself. The leads are melodic and shredding by turns, the riffs are both bludgeoning and razor sharp. The fire he displays here is just awe inspiring. A legend living up to the legend. A rare thing indeed. Walker delivers his vocals with genuine rasp and venom, the bass underpins the more elaborate pyrotechnics of Steer and new drummer Dan Wilding- who is a more than able replacement for Owen; he plays a blinder.

“1985” opens proceedings with a wistful instrumental guitar piece before “Thrasher's Abattoir” kicks things into top gear and rips open your ears. “Cadaver Pouch Conveyor System2 follows with more brutality; “A Congealed Clot of Blood” carries on the trend and is then followed by the complex and catchy (!) “The Master Butcher's Apron”. The halfway point of “Non Compliance to ASTM F 899-12 Standard” keeps incomprehensible song titles alive while the tempos shift and melodic leads abound. It is easy to see that the album is indeed one of two halves; an opening shock and awe and then a search and destroy mission, if you like or brutality followed by more measured material, if you prefer.

“The Granulating Dark Satanic Mills” is a towering Walker contribution. The riffs snake and twist, while the song has room to breathe and stick in your head. All of Carcass' strengths are on display here; complexity and melody, brutality and a light touch (the blast sections are heavy but never laboured; the band are blessed with a light touch that you wont find on a Cannibal Corpse record).

"Unfit for Human Consumption" has riffs to burn and brings in rhythms definitely harking back to those halcyon days of the early 90's; atrabilious chimneys, anyone?! The fret work is brilliant here; complex but not cluttered, the time changes unpredictable, the leads soaring. “3161 Grade Surgical Steel” provides a title track of sorts and doesn't disappoint. The rhythms are unusual, the vocals oddly catchy and the whole effect is heavy but with a sense of light and shade... oh Carcass, how we have missed thee.

 

“Captive Bolt Pistol” (released prior to the rest of the album) fires out of the chamber with thrash pacing that gives way to grinding blasts and switches back and forth. As a straightforward representation of what Carcass do it works very well indeed. Great bass drum work (particularly as no click is being used).

“Mount of Execution” is the last official album track (the special edition features one more) and starts with acoustic guitars and then an intro of wistful sounds. The main refrain is strong too; melodic and half stepping like Zeppelin or Metallica (first four).

For people who want more pick up the special edition as you get the bonus “Intensive Battery Brooding”. It is of no lesser quality than the rest of the album but is slightly different in tempos and approach (even the vocal line is a little different). In this regard you can see/hear why it is not part of the album proper. I view this as a nice collectible that is well worth having. Two decades have passed since the last worthwhile Carcass album; why not spend an extra pound or two for a snazzy digipack and an extra track?

Speaking of which, it is interesting that the band thank “anyone who bought a physical copy” of the album. I am one of those dinosaurs; buying it at an ACTUAL SHOP, no less, and forking out the extra £1 for the special edition. The artwork is excellent, harking back to the 1992 (I think) “Tools of The Trade2 EP. Like the music contained herein the sleeve is shiny, sinister and thoroughly modern looking... or should I say classic?!

Overall, I could not have expected any more from this record: it combines what I love about “Heartwork” and “Necroticism...” in particular. The song writing, musicianship and production are all there. I should mention here that on reading the liner notes I see that the record was engineered by a certain Carl Bown at Treehouse Studios, Derbyshire. I played in a death metal band with Carl back in the mid to late 90's in Humberside. I have not seen Carl since 1997 (!) but were I to run into him tomorrow I would ask him about this record, as I would love to hear about the process of making it. All of us in the band were Carcass fans and the fact that all those involved are still involved in music in one way or another speaks volumes about the quality of our inspirations.

Only the greatest of bands inspire others to pick up instruments and start making music and playing gigs. In this regard, Carcass are death metal royalty. A British band that transcended a DIY scene to inspire musicians around the world with a unique progression of their chosen genre. Peerless then, peerless now.

“Surgical Steel” is available to buy here

 

Band info: facebook