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Read and write album reviews for Red Before Black - Cannibal Corpse on AllMusic.
I begin, once again, by stating the obvious: Cannibal Corpse arguably invented death metal as we know it. They helped to put the 'deathrash' era behind and turn death metal into this wild, chaotic, blastbeat-punctuated music that we're all familiar with. As one of the pioneers, and one of the first bands to allow the death metal genre to find mainstream success, they were quite outstanding and influential in their field. Emphasis on 'influential' here. Every now and then there's that band that creates a signature sound that becomes endlessly imitated, because lesser bands want to ride on the coat-tails of that bigger band's fame. Most of the time, this situation creates a flood of 'underground sludge' bands who take too much influences from their idols and don't bother to create a unique sound. Cases like these have resulted in some awful music scenes being formed (see Rings of Saturn and their peers). Cannibal Corpse is no exception when it comes to this phenomenon. Ultimately, and unfortunately, death metal would have to pay the price for having Cannibal Corpse at its front.
We saw the beginnings of the 'new' Cannibal Corpse on 'Gallery of Suicide', and 'Bloodthirst' really brings those elements into focus. I like to blame two people in particular for the downfall of Cannibal Corpse: Pat O'Brien and George Fisher. (I refuse to refer to him by his horribly cringy, trying-oh-so-hard-to-be-edgy nickname.) Before Pat came along, guitars were left to the talents of Jack Owen and Bob Rusay (and later, Rob Barrett). Both were limited somewhat as far as technical skill goes, which resulted in both of them writing riffs that weren't over-the-top technical. That wasn't necessarily a bad thing, though. Think of all the great catchy riffs that Owen and Rusay came up with: the doom-like intros of 'Born in a Casket' and 'Covered with Sores', the infamous staccato opening for 'Hammer Smashed Face', the memorable four-note wonder that was 'I Cum Blood'.. Every Corpse fan will remember those songs well. They grabbed you by the balls when you first heard them and they made you remember them. After O'Brien joined and brought his superior guitar skills with him, he started writing more technical riffs (and lowering the tuning to drop B and below). As a result of these technical riffs that were harder to listen to, Corpse's songs became less memorable. I ask you: can you remember listening to any Cannibal Corpse song from any album past 'Vile' for the first time and that riff just got wedged into your head? (Don't say Make Them Suffer.) Were there ANY riffs AT ALL from those subsequent albums that were truly catchy in the way that stuff from the Barnes era was? Heh. I thought not. That's because O'Brien's riffs aren't about being catchy. They're about showing off technical skill. They don't stick in your head. Riffs from the Barnes era were pounded into your skull with a sledgehammer and the dent stayed there. With O'Brien's riffs, it's more like you still got smashed with the sledgehammer, but it didn't hurt at all. Of course the riffs are like that on this album. Too technical, not catchy enough, and - to top it off - the drop A tuning and the horrible, but very influential mids-cranked guitar tone sometimes make it hard to even tell what notes the guitars are playing. It's all just vague chugging that feels very forced. I really wish I could give you some musical examples of what I'm talking about, but that's just it. I can't. Every single guitar part goes in one ear and out the other. You'd have to listen to the songs a hundred times before you finally could tell a song from this album by its riff.
So, of course, all the lesser death metal bands had to jump on the bandwagon. They started playing technical, unmemorable riffs and downtuning entirely too much as well, without realizing that you don't have to be in drop A to be 'brutal'. So much did the downtuning aspect influence death metal as a whole, that downtuned, un-catchy guitars were written into the dictionary definition of death metal. How do you like that? Now, bands have to play the downtuned riffs that aren't memorable, or else they'll risk being not considered death metal by 'dictionary'.
George 'Insert immature edgy name here' Fisher, like I've mentioned before, is the other thing that brought Cannibal Corpse down. The tone of his vocals is the major problem here. On this album, you can hear it very clearly. At the start of the song, he'll sound decent, but then, towards the end, his voice will gradually develop more of a whiny overtone, and it'll sound like he's crying very loudly instead of growling. Sometimes it's like this the whole way through the song. And then, of course, there are his high screams. Words cannot even begin to describe how abhorrent to the human ear Fisher's high screams are. They're even worse than Chris Barnes' pig squeals. It sort of sounds like he's crying in a low register when he growls; when he screams, it sounds like he's just crying. People would make the argument that this style of vocals sounds more aggressive than Barnes' style, but the aggressiveness is traded for quality of vocal tone along the way. The thing is, you see, Fisher's more aggressive cry-baby style of death metal vocals is easier to master than Chris Barnes' vomit-inducing grunts (which sounded much better). As such, death metal vocalists all over, who had been wondering how Barnes got his vocals to be that deep and sickening, suddenly heard Fisher, and they were like, 'Aw, man! Their new vocalist sounds as shitty as I do! Well, if the masters of death metal are okay with it, then so am I!' Thus a whole breed of death metal vocalists that sound the same was born.
Lyrical efforts on this album pale in comparison to stuff like 'Tomb of the Mutilated' (Corpse's best lyrical effort, IMO). When Chris Barnes left, he took his then-fading lyrical abilities with him. Writing duties now fell to other members of the band, and they were incompetent at it. When you read this album's lyrics, it's like they did the same thing with them as they did with the guitars. They made the lyrics more technical, to fit Fisher's style and speed. It sounds more like semi-morbid poetry than death metal lyrics.
'I want to be one with the dead
Collection of dead humans, dead
I want to be one with the dead
Collection of dead humans, dead
I want to be one of them'
From 'Dead Human Collection'. At first glance of the title, what is the song about? Someone who kills people and collects their bodies for fun. It's what Barnes would have written about. But what's the song actually about? It's actually about someone who wants to die and join his fellow cadavers in the 'dead human collection'. How brutal is that? Not very. Sounds more like emo than death metal.
'A beast in the wild with nocturnal dementia
Unearthly revival of clandestine extinction
Reborn creature, malicious being
Resurgence of a gruesome species
With carnal obsession, it lusts copulation
Scent of fresh human blood invades its dominion'
From 'Raped by the Beast'. The title sounds promising, yes, but are the lyrics promising? NO! Nothing about necrophilia, fucking the remains of the mother, etc.! It seems like they wrote some kind of childish story about a big shaggy dog that violates you, and then used the thesaurus to add some 'poetic value' to it. It didn't work. I've heard post-hardcore songs with lyrics that are more shocking and brutal than the lyrics from this album. I'm dead serious. Speaking of shocking, guess what? There is a total of TWO uses of profanity in this ENTIRE ALBUM'S LYRICS!! Politically correct lyrics are not for death metal; what more need I say?
Oh yeah. One more thing about the lyrics. Fisher and everyone else seem to think that, since O'Brien's guitar parts aren't catchy, they can compensate by adding a catchy vocal part. I'll just say this: Incorporating some screamed form of the song title in for a hook is not a good way to make your songs catchy. However, it's the formula that Corpse has adopted, and it doesn't look like they'll be dropping it.
The song structures did the opposite of the riffs post-Barnes. No more surprising, chaotic tempo changes (or even time signature changes). Songs from this album rely extensively on blast beats and thrash beats. I'm sure I can't be the only one who thinks that blast beats get really annoying after you've heard more than sixteen bars of them. It doesn't sound inventive anymore. The blast beat is to drums what a diminished scale sweep is to guitars: something not too hard to play that you can pull out on the fly to make it sound like you have more skill than you actually do. This over-use of blast/thrash beats would be a major influence on later death metal bands, and be yet another thing that was written into the dictionary definition of death metal. So, now what happens when someone starts a death metal band and reads the dictionary definition? Downtuned guitars and blast beats? All right, no problem! I was that person once. The first death metal song I wrote was at least 80 percent blast beat (because I read the dictionary definition). Blast beats are not necessary for something to be considered 'death metal'. Look at the song 'NecroPedoPhile' off Tomb of the Mutilated. That song doesn't have a single blast beat in it, and it's still death metal. I think there's only one song on this entire album that has no blast beats: 'Unleashing the Bloodthirsty'. Who knows. There might be more, but it's like I said. Each song goes in the ear and out the other.
Another thing: I have to comment on Paul Mazurkiewicz's shortcomings as a drummer. They've been there from the beginning, and they're always there, even when he's playing a steady groove. It especially shows when he's doing the Kreator death/thrash beat (quarter-note snare and kick, quarter-note triplet power hand). It almost seems like he's slowing down the more he does it. More than a few of his fills are sloppy too. I'm not sure if drum triggering technology was evolved enough in 1999 to convert a human's playing to recorded MIDI and then correct timing errors by replacement with a virtual instrument. It definitely was by 2006, though. Paul's sloppiness can be somewhat excused when his drums sound raw, but when they're overproduced, all his mistakes are magnified. The drums are produced professionally; shouldn't they be played professionally? Granted, his timing errors here aren't as severe as earlier efforts or live performances.
This brings me to my favorite part of every review: production discussion. I've mentioned the guitar tone already, but everything else about the production style would go on to be endlessly imitated, too. Perhaps the loss of Scott Burns is another thing that contributed to the downfall of Cannibal Corpse. He produced every album of theirs as raw as possible (remember the toy drums on 'The Bleeding'?), and it really added to the music. It sounded authentic. The production on this album has been sterilized ten times over. Guitars full of mids, drums that have been compressed down to a click, and an inaudible bass. Well, mostly inaudible. Webster is not the kind of bassist to let someone mix him out. His choice of tones here, though, is the thing that makes him inaudible. At the beginning of 'Coffinfeeder', you can hear his tone for real, and it's lacking in mids. The guitars are full of mids, which basically leaves just the sub frequencies of the bass to be audible. If that's the way it's going to be, why don't you just replace the bass with a sine wave and be done with it? The only time you can hear Webster here is when he doesn't twin the guitars. What about this sounds familiar? Most of it, right? None of it sounds raw. It sounds overproduced; too machine-like. It all sounds overproduced now. And why? What about recording technology has changed that much to where we cannot produce a sound anymore that sounds overproduced? I suppose that, just because producers can make it sound like this, they do. Probably at the request of the band, who handed the producer the Bloodthirst CD and said, 'Produce this sound for us. We want to sound like our idols.'
It really is sad to reflect on Cannibal Corpse and see how they created death metal as we knew it, only to kill it. While Chris Barnes and his rapidly dying voice wasted away in Six Feet Under, Cannibal Corpse became a prototype for all those underground death metal bands who pump out music that's not exciting or catchy. It just exists as music. It serves no purpose other than to present an opportunity for the musicians to practice their instruments. No effort is put into memorable songwriting, bringing back the cramped Scott Burns style of production, or anything else that made early 90s death metal interesting. This album marked the point of no return for death metal and Cannibal Corpse. It is a tiresome collection of sterile songs that don't stand out from one another and make little effort to do so. Again, I say that it is sad that the biggest band in this area of music is the very same band that ruined it with their own shift in musical direction.
I guarantee that if you played a modern Cannibal Corpse song for someone who had never heard of them or heard their music, and then played them a song by a random underground death metal band, they would not be able to tell the difference between the two.
|Gallery of Suicide|
|Studio album by|
|Released||April 21, 1998|
|Studio||Morrisound Recordings, Tampa, FL, US|
|Cannibal Corpse chronology|
Gallery of Suicide is the sixth studio album by American death metal band Cannibal Corpse. It was released in 1998 through Metal Blade Records. It is also the first Cannibal Corpse album to feature former Nevermore guitarist Pat O'Brien.
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|1.||'I Will Kill You'||Alex Webster||Webster||2:47|
|2.||'Disposal of the Body'||Webster, George Corpsegrinder Fisher||Webster||1:54|
|3.||'Sentenced to Burn'||Webster||Webster||3:06|
|4.||'Blood Drenched Execution'||Paul Mazurkiewicz, Fisher||Webster, Pat O'Brien||2:40|
|5.||'Gallery of Suicide'||Mazurkiewicz||Webster, Jack Owen||3:55|
|6.||'Dismembered and Molested'||Webster||Webster, Owen||1:53|
|7.||'From Skin to Liquid' (instrumental)||Webster, O'Brien||5:30|
|8.||'Unite the Dead'||Webster||Webster, Owen||3:05|
|9.||'Stabbed in the Throat'||Mazurkiewicz||O'Brien||3:26|
|10.||'Chambers of Blood'||Webster||Webster||4:11|
|12.||'Every Bone Broken'||Mazurkiewicz||Owen||3:18|
|13.||'Centuries of Torment'||Webster||Webster||4:04|
|14.||'Crushing the Despised'||Webster||Webster, Owen||1:56|
Writing, performance and production credits are adapted from the album liner notes.
- Cannibal Corpse
- George 'Corpsegrinder' Fisher – vocals
- Jack Owen – guitar (solos on 2, 3, 5, 8)
- Pat O'Brien – guitar (solos on 4, 9, 12, 13)
- Alex Webster – bass
- Paul Mazurkiewicz – drums
- Jim Morris – production, engineering, mixing, mastering
- Artwork and design
- Vincent Locke – cover art
- Brian J. Ames – design
- Al Messerschmidt – photography
- Alison Mohammed – photography
- Morrisound Recordings, Tampa, FL, US – production, engineering, mixing
- Audio JJ – mastering
- ^Erlewine, Thomas. Gallery of Suicide - Cannibal Corpse at AllMusic
- ^Gallery of Suicide (booklet). Cannibal Corpse. Metal Blade Records. 1998.CS1 maint: others (link)
- Gallery of Suicide at AllMusic
- Gallery of Suicide at Metal Blade Records
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