Concert Review – Cannibal Corpse (The Danforth Music Hall, Toronto, ON, 11/06/2022)

And there we had another fantastic night of sheer brutality and blasphemy in Toronto spearheaded by the Corpse. 

OPENING ACTS: Black Anvil, Immolation and Dark Funeral

What a fantastic night of sheer brutality and blasphemy at The Danforth Music Hall yesterday in Toronto! If you’re a diehard fan of Death and Black Metal you must attend one of the concerts of the North American Tour 2022 this fall with the bands BLACK ANVIL, IMMOLATION, DARK FUNERAL and the unstoppable, unparalleled CANNIBAL FUCKIN’ CORPSE, with the sold out night yesterday in Toronto proving how strong extreme music still is even with all the bad music that’s dumped onto us everyday by the “specialized” media. The weather was perfect and the line to get into the venue started to form really early, maybe even before 4pm, showing it was going to be indeed an unforgettable night to all 1,500 fans who were lucky enough to get a ticket.

The first band to hit the stage was New York-based Black/Thrash Metal outfit BLACK ANVIL, but I had to miss the first few minutes of their setlist due to the massive line to buy merch. Unfortunately, the never-ending merch lines seem to be the new norm as that has happened in every single concert I’ve been to after the end of the pandemic, which makes me wonder if the fans are willing to spend a lot of extra money with shirts and other merch fearing that a new pandemic might hit anytime, or that the organizers have no clue what they’re doing and can’t put together a decent way to serve all fans that want to buy some merch. Anyway, back to the music, as soon as I was able to get into the main hall I could enjoy Black Anvil’s straightforward, no shenanigans performance, with their drummer stealing the spotlight with a solid performance. They’ve just released a new album this Friday, entitled Regenesis, which was basically everything they played last night, so if you know nothing about them and are attending one of their concerts opening for Cannibal Corpse you must listen to their new opus. Well, you should listen to it even if you’re not attending any concert, as those guys are great.

Setlist
The Gates of Brass
In Two
The Bet
29
8-Bit Terror
Grant Us His Love
Castrum Doloris

Band members
P.D. – vocals, bass
Sos – guitars
Travis Bacon – guitars
R.G. – drums

After a very short break (and the main reason for that is because all four bands had to finish their concerts by 11pm at the latest due to the neighborhood where the venue is located), it was then time for American Death Metal masters IMMOLATION to crush our souls with their extremely aggressive and technical creations, blending songs from their newest album Acts of God, such as the title-track An Act of God, Shed the Light and the closing song Apostle, with old school stuff including one song from their 1991 debut album Dawn of Possession, the fulminating Burial Ground, which ignited one of the most ravenous mosh pits of their infernal performance. Vocalist and bassist Ross Dolan was on fire throughout their entire set, while his bandmates made sure the electricity kept flowing between the band and the crowd. I’m sure it won’t take long for Immolation to return to Toronto,  and whenever that happens I’m sure I’ll be there to slam into the pit once again to the sound of their visceral music.

Setlist
Abandoned
An Act of God
The Age of No Light
Swarm of Terror
Noose of Thorns
The Distorting Light
Overtures of the Wicked
Burial Ground
Shed the Light
Of Martyrs and Men
When Halos Burn
Apostle

Band members
Ross Dolan – vocals, bass
Robert Vigna – guitars
Alex Bouks – guitars
Steve Shalaty – drums

Of course I was at The Danforth Music Hall last night mainly to see the headliners Cannibal Corpse, but I was also very excited to witness the scorching Black Metal by Sweden’s own DARK FUNERAL for the very first time live, and let me tell you it was indeed a unique experience as the band spearheaded by the talented frontman Heljarmadr delivered endless obscurity and blasphemy to their avid fans. Promoting their awesome new opus We Are The Apocalypse, Dark Funeral fired a great fusion of their early days and more contemporary creations, with songs the likes of Leviathan, The Secrets of the Black Arts and Let the Devil In receiving a huge roar back from the crowd showing all their admiration for the band. It was also funny seeing Heljarmadr asking every single fan at the venue to scream “HAIL SATAN!” together with him, and I can’t imagine what the girls at the bar and the guys from security felt during such inspirational moments. The top moments of their performance for me were the neck-breaking, evil tune My Funeral, and the closing song Where Shadows Forever Reign, turning Toronto into the worldwide Black Metal capital for one night and, therefore, guaranteeing Dark Funeral will return to the city to darken the skies once again with their undisputed Black Metal in the near future.

Setlist
Unchain My Soul
Hail Murder
Leviathan
My Funeral
The Secrets of the Black Arts
Open the Gates
When I’m Gone
Nail Them to the Cross
Let the Devil In
Where Shadows Forever Reign

Band members
Heljarmadr – vocals
Lord Ahriman – guitars
Chaq Mol – guitars
Adra Melek – bass
Jalomaah – drums

CANNIBAL CORPSE

And finally there they were, three years after their hammering performance at The Opera House back in 2019 (which was by the way my last concert before the world went to shit with the pandemic), Buffalo, New York’s one and only Death Metal institution CANNIBAL CORPSE took the city of Toronto by storm once again with their rage, speed, heaviness, precision and groove, driving the entire floor section mental and, consequently, igniting a massive circle pit that lasted for their entire performance. Frontman George “Corpsegrinder” Fisher (armed with his monstrous neck and his beyond cool T-shirt “Respect the Neck”), guitarists Rob Barrett and Erik Rutan, the bass phenom Alex Webster, and drummer Paul Mazurkiewicz were in absolute sync from start to finish, turning up the eat at the venue to the point you would sweat even if you were not moving at all.

What I love about Cannibal Corpse is that their setlists are always a journey through all of their phases, mixing classics the likes of Unleashing the Bloodthirsty and Stripped, Raped and Strangled with newer stuff such as Kill or Become and Inhumane Harvest, this one form their most recent album Violence Unimagined. Corpsegrinder had the crowd in his bloody hands instantly, delivering not only a savage vocal performance but also interacting in a very fun way with all fans, either by throwing bottles of water to them or by challenging everyone to try to beat him in a headbanging duel during I Cum Blood (and of course, we all failed miserably as Corpsegrinder himself predicted). Another fun moment with Corpsegrinder was before Fucked With a Knife, when he dedicated it to all women and instead of hearing guys cheering that, he actually listened to A LOT of women screaming at the venue. He commented on that by saying there are usually only 20 women in their concerts, which is already a lot in his opinion, and when he asked the ladies to scream again they were even louder. Well, after such nice moment, the circle pit kept moving ferociously to Fucked With a Knife, as expected.

Every single time I write anything about Cannnibal Corpse I need to say how much I admire Mr. Alex Webster and his wicked bass lines, and yesterday in Toronto he proved once again why he’s the best bass player of the entire Death Metal universe. That man is a beast on bass, and the best part is that you can actually listen to each and every note coming from his bass clearly. And while Mr. Webster was demolishing our ears with his bass during masterpieces the likes of Devoured by Vermin, A Skull Full of Maggots and Hammer Smashed Face, the rowdy crowd in Toronto kept having a very good time inside the circle pit in the name of first-class metal music. It’s so nice to be a fan of a band like Cannibal Corpse, as not only all of their albums are amazing, but their live performances are a thing of beauty. There should be a law for the band to play here at least once a month, but as that’s not possible I’m happy if they kept releasing ass-kicking albums and keep coming back to Toronto every couple of years. LONG LIVE THE CORPSE!

Setlist
Scourge of Iron
The Time to Kill Is Now
Inhumane Harvest
Code of the Slashers
Fucked With a Knife
The Wretched Spawn
Gutted
Kill or Become
I Cum Blood
Evisceration Plague
Death Walking Terror
Condemnation Contagion
Necrogenic Resurrection
Unleashing the Bloodthirsty
Devoured by Vermin
A Skull Full of Maggots
Stripped, Raped and Strangled
Hammer Smashed Face

Band members
George “Corpsegrinder” Fisher – vocals
Rob Barrett – lead and rhythm guitar
Erik Rutan – lead guitar
Alex Webster – bass guitar
Paul Mazurkiewicz – drums

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The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2021

“I wanted to play drums because I fell in love with the glitter and the lights, but it wasn’t about adulation. It was being up there playing.” – Charlie Watts

And there goes another year without a single metal concert in Canada. Another year full of uncertainties, fears, polarization, restrictions, and everything else we “love” so much. I honestly don’t know what to say about 2021 apart form the fact it was undoubtedly much better than 2020, but that means nothing considering the total nightmare that 2020 was. We lost a lot of huge names in the rock and metal scene such as Joey Jordison, Dusty Hill, Mike Howe, Johnny Solinger, Marsha Zazula, Alexi Laiho, John Hinch, John Lawton, Charlie Watts and Hank Von Hell, among many others. Tons of festivals including Download, Wacken Open Air, Hellfest, Bloodstock Open Air, Sweden Rock Festival and Dynamo MetalFest were scheduled to return this year after the 2020 editions of those festivals were cancelled due to the COVID-19 pandemic, but unfortunately Sweden Rock, Hellfest, Download and Wacken Open Air were once again cancelled. With that said, why do we metalheads still believe in a better future? Is it because, despite all adversities, our favorite bands released some of their best albums from the past few years?

Hence, as new lockdowns are being imposed upon us in a never-ending pandemic loop, there’s not much we can do but enjoy The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2021, excluding EP’s, best of’s and live albums, keeping us sane until this madness is finally over. Or maybe I should say if it will be over one day, of course. There’s a bit of everything for all types of fans, from classic Heavy Metal to the brutality of Death Metal, from the modern nuances of Melodic Death Metal to old school Thrash Metal, and so on, and in my humble opinions one of the most interesting facts about several albums launched in 2021 is their duration, with many of those surpassing the one hour barrier such as Senjutsu, Helloween, Persona Non Grata, Existence Is Futile and Blood on Blood, not to mention the over four hours of music from the Lordiversity boxset, which for me proves how much the bands responsible for those albums love their fans by offering them a lot of new music to enjoy during such difficult times. I would say that even if there are ZERO metal albums launched in 2022, we’ll still have a lot of great music to enjoy throughout the year thanks to all the amazing records released in 2021, don’t you agree?

1. Iron Maiden – Senjutsu (REVIEW)
Behold another masterpiece by the one and only Iron Maiden with its 82 minutes of tactics, strategy, war, resilience and determination.
Best song of the album: Hell on Earth

2. Helloween – Helloween (REVIEW)
A dream come true for all generations of “Happy, Happy Helloween” fans from all over the world.
Best song of the album: Skyfall

3. Trivium – In the Court of the Dragon (REVIEW)
It’s time to join Trivium in the court of the dragon to the sound of their magnificent new opus.
Best song of the album: Like a Sword Over Damocles

4. Exodus – Persona Non Grata (REVIEW)
Don’t be a “persona non grata” in the world of heavy music and get into the circle pit to the sound of this newborn thrashing beast.
Best song of the album: Lunatic-Liar-Lord

5. Cannibal Corpse – Violence Unimagined (REVIEW)
State of the art Death Metal played with passion and breathless precision by the most violent and unrelenting band of all time.
Best song of the album: Surround, Kill, Devour

6. 1914 – Where Fear and Weapons Meet (REVIEW)
Ukraine’s own doom infantry is back into the battlefield with another masterpiece, telling the gruesome tales of World War I.
Best song of the album: Pillars of Fire (The Battle of Messines)

7. Motorjesus – Hellbreaker (REVIEW)
Let’s drive through the fires of hell together with one of the best bands from the German rock and metal scene.
Best song of the album: Hellbreaker

8. Nervosa – Perpetual Chaos (REVIEW)
A deadly and thrashing lesson in perpetual chaos by four metalheads hailing from Brazil, Italy, Spain and Greece
Best song of the album: Time to Fight

9. Gojira – Fortitude (REVIEW)
Let’s all face up the world to the sound of the new masterpiece by one of the most dynamic bands of the current metal scene.
Best song of the album: Amazonia

10. Blaze Bayley – War Within Me (REVIEW)
The man who will live for a thousand years is back, inspiring us all to fight the war within us and to take our future in our own hands.
Best song of the album: Pull Yourself Up

And here we have the runner-ups, completing the top 20 for the year:

11. Running Wild – Blood on Blood (REVIEW)
12. Lordi – Lordiversity (REVIEW)
13. Cradle of Filth – Existence Is Futile (REVIEW)
14. Diabolizer – Khalkedonian Death (REVIEW)
15. Angelus Apatrida – Angelus Apatrida (REVIEW)
16. Moonspell – Hermitage (REVIEW)
17. Lutharo – Hiraeth (REVIEW)
18. Unflesh – Inhumation (REVIEW)
19. Scarlet Aura – Genesis of Time (REVIEW)
20. Coiled Around Thy Spine – From The Ashes (REVIEW)

In addition to all that, let’s bang our heads with our Top 10 EP’s of 2021 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.

1. Eonian – The Nomad (REVIEW)
2. Lady Beast – Omens (REVIEW)
3. The Agonist – Days Before the World Wept (REVIEW)
4. Tantivy – Eyes in the Night (REVIEW)
5. Grale – AGITACIÓN (REVIEW)
6. Bouquet of Dead Crows – Hemispheres Part 2: Cerebral (REVIEW)
7. Kadavereich – Radiance Of Doom (REVIEW)
8. Wolvencrown – A Shadow Of What Once Was (REVIEW)
9. Juliet Ruin – Dark Water (REVIEW)
10. Black Hole Deity – Lair Of Xenolich (REVIEW)

Do you agree with our list? What are your top 10 albums of 2021? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some or most of our special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2021 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?

Metal Xmas and a Headbanging New Year! See you in 2022!

And before I go, I’ll leave you with some touching words by Mr. Lordi and his crew of monsters…

Something something blah blah to you
All the sincere wishes come true
I put vengeance on my wish list
And that’s what Santa brought
So have a merry something and a happy blah blah blah

Album Review – Cannibal Corpse / Violence Unimagined (2021)

State of the art Death Metal played with passion and breathless precision is what you’ll find in the superb fifteenth studio album by the most violent and unrelenting band of all time.

4.5rating

cannibal-corpse-violence-unimagined-2021Violence Unimagined. The title tells you everything you need to know about Buffalo, New York-based Death Metal titans Cannibal Corpse‘s fifteenth hellish opus. Comprised of eleven tracks, it is state of the art Death Metal played with passion and breathless precision by George “Corpsegrinder” Fisher on vocals, Rob Barrett and Erik Rutan on the guitars, Alex Webster on bass and Paul Mazurkiewicz on drums, making for another flawless addition to what is inarguably one of the premier catalogues the genre has thrown up. Produced, engineered and mixed by Erik Rutan at Mana Recording Studios, mastered by Alan Douches at West West Side Music, and featuring another terror-infused artwork by Vincent Locke, Violence Unimagined is the band’s first album in nearly four years since Red Before Black, the longest gap between two records in their career, and the first studio album to feature Erik Rutan on lead guitar replacing Pat O’Brien. Not only that, already well known for the level of extreme technicality they bring to every record, on Violence Unimagined they have further upped their game, with the album’s titled, created by Paul Mazurkiewicz, “summing up what the band is about in every facet, and taking violence to another level of extremity.”

Their vile onslaught begins in full force in Murderous Rampage, with Corpsegrinder already barking like a rabid beast while Rob and Erik slash their axes furiously. Put differently, the album couldn’t have started in a better way, and the same can be said about Necrogenic Resurrection, a bestial creation by Cannibal Corpse where Paul hammers his drums while Alex extracts sheer insanity from his bass, and with its frantic vibe more than inspiring us all to crush our skulls into the circle pit. Then the title-track Inhumane Harvest (don’t forget to watch its sick official video below) showcases the band’s classic, visceral lyrics (“Twisted criminal underground / Subjugation of the victim / For complete control / Reaping vital body parts / Surgical precision taking / All that will be sold”) amidst a heavy-as-hell and extremely detailed sound; and it’s time to bang our heads nonstop to the demented riffage by Rob and Erik in another Death Metal extravaganza titled Condemnation Contagion, proving they don’t need to play at the speed of light to sound and feel absolutely insane. And their path of devastation and gore goes on in the superb Surround, Kill, Devour, with Paul dictating the pace with his trademark beats and fills, offering Corpsegrinder all he needs to thrive with his venomous guttural.

cannibal-corpse-2021There’s no time to breathe as our beloved Death Metal giants fire another massive tune entitled Ritual Annihilation, where the guitars, bass and drums make our heads tremble, overflowing sheer brutality and also showcasing wicked guitar solos, and you know it’s not a Cannibal Corpse album without a neck-breaking anthem the likes of Follow the Blood, where Alex proves once and for all why he’s by far the best extreme music bassist out there with his low-tuned, intricate and evil bass lines. Bound and Burned is another lecture in old school Death Metal where the band’s guitar duo is on fire with their riffs and solos, keeping the album at a high level of dementia and violence, whereas in Slowly Sawn the lyrics barked by Corpsegrinder seem as if they were taken from a slasher flick (“Bound tight to the table / Unable to scream / The blades of the sadist / Are all I see / Meticulous slaughter / A saw for each limb / Cuts through my flesh”) while the music will lacerate your ears just the way we like it in Death Metal. Then we have the fulminating Overtorture, and I must say I simply love this version of Cannibal Corpse, a straight-to-the-point, aggressive and infernal circle pit-catalyst tune where Paul is beyond ruthless behind his drums. Finally, the quintet darkens the sky once again with the hammering Cerements of the Flayed, spearheaded by the sick bass jabs by Alex and the always bestial roars by Corpsegrinder.

cannibal-corpse-violence-unimagined-artbook

Cannibal Corpse Violence Unimagined Limited Edition Artbook Set

Cannibal Corpse are by far the most violent and hardworking Death Metal band of all time, with Violence Unimagined not only representing another ass-kicking, top-of-the-line display of all their talent and passion for extreme music, but also showing a Death Metal band can indeed reinvent itself without selling out or sounding cheesy or tiresome at all. If you haven’t taken a listen at such masterpiece of extreme music yet, an album that will surely feature among the top metal albums of 2021, you can find it in full on YouTube and on Spotify, but of course I highly recommend you purchase it from the band’s official webstore in the United States or in Europe, or from Metal Blade Records, where you can find the link to the fantastic Limited Edition Artbook Set, containing a digipak CD, a 12” exclusive crimson red marbled vinyl, a patch, a sticker and a flag, and don’t forget to also follow the band on Facebook and on Instagram to get updated on all things Cannibal Corpse. Needless to say, if you don’t do all that, you can’t even imagine the level of violence you will suffer.

Best moments of the album: Murderous Rampage, Inhumane Harvest, Surround, Kill, Devour, Follow the Blood and Overtorture.

Worst moments of the album: None.

Released in 2021 Metal Blade Records

Track listing
1. Murderous Rampage 4:07
2. Necrogenic Resurrection 3:06
3. Inhumane Harvest 4:32
4. Condemnation Contagion 4:17
5. Surround, Kill, Devour 4:10
6. Ritual Annihilation 3:48
7. Follow the Blood 4:39
8. Bound and Burned 4:04
9. Slowly Sawn 3:30
10. Overtorture 2:28
11. Cerements of the Flayed 4:07

Band members
George “Corpsegrinder” Fisher – vocals
Rob Barrett – lead and rhythm guitar
Erik Rutan – lead guitar, backing vocals on “Murderous Rampage”
Alex Webster – bass guitar
Paul Mazurkiewicz – drums

Concert Review – Cannibal Corpse (The Opera House, Toronto, ON, 11/15/2019)

Over 30 years of evisceration, torture, mutilation, killing, blood and cannibalism in an awesome night of first-class Death Metal in Toronto.

OPENING ACTS: Perdition Temple and Thy Art Is Murder

I can’t describe in words how happy I am whenever a metal concert is scheduled for a Friday or Saturday night in Toronto, especially when the music in question is old school Death Metal. I mean, we need at least one full day to recover from all the insanity going on in the circle pits, right? And that’s probably why all fans at The Opera House this Friday, November 15 went the extra mile in terms of energy, rage and madness, slamming like it was their last night on earth to the sound of Perdition Temple, Thy Art Is Murder and my favorite Death Metal band of all time, the almighty Cannibal Corpse, pulverizing everything and everyone that crossed their path on a cold but fantastic night in Toronto.

It took forever for the concerts to start, probably because of the huge line that was formed at the door, with security even doing the checks while people were still in line and not right at the entrance. That was an indication that The Opera House was going to be jam packed (and it actually was), and after tons of non-metal songs played by the house DJ for a reason beyond my understanding (well, at least when he played Toto’s classic Africa some metalheads had a good time singing it), the first attraction of the night, Tampa, Florida-based Black/Death Metal horde PERDITION TEMPLE, finally hit the stage and began their short but solid setlist. Formed in 2009 by guitarist Gene Palubicki (from old school cult act Angelcorpse), the trio comprised of Gene together with bassist and vocalist Alex Blume and drummer Ronnie Parmer played a well-balanced setlist including songs from all of their releases, with songs like To Bleed at War, The Tempter’s Victorious and Goddess in Death already igniting some decent circle pits in the floor section. I personally enjoyed their performance a lot, and if you’re curious to know how the music by those Ameircan metallers sounds, simply check their official BandCamp page and, who knows, you might end up adding one of their albums to your devilish collection.

Setlist
The Tempter’s Victorious
Plague Camp
Testament to Annihilation
To Bleed at War
Goddess In Death

Band members
Alex Blume – vocals, bass
Gene Palubicki – guitars, vocals
Ronnie Parmer – drums

After a short break where most fans went either to the bar to grab some cold beer or to the bathroom to make room for more beer,  it was time for Sydney, Australia-based Deathcore outfit THY ART IS MURDER to show Toronto what they got, giving a lesson in slamming with their heavy-as-hell and politicized compositions. Comprised of vocalist Chris “CJ” McMahon, guitarists Sean Delander and Andy Marsh, bassist Kevin Butler and drummer Jesse Beahler, this excellent Deathcore unity from Down Under blasted a demolishing setlist including songs from their newest album Human Target, such as Make America Hate Again and New Gods, which by the way I thought sounded amazing live, with older hits like Reign of Darkness, Fur and Claw and Puppet Master, driving the fans nuts while crushing their skulls inside the humongous mosh pit that dominated the entire floor section as soon as the band began their show. I must say CJ McMahon is not only an extremely talented vocalist, delivering his trademark deep, guttural growls and his inhuman screeches, but he’s also a very charismatic and humble guy, making it visible to everyone at the venue how happy and impressed he was with the reception by his Torontonians fans. After all was said and done, I was able to confirm Thy Art Is Murder is indeed one of the best bands hailing from the current metal scene in Australia, both in studio and when on stage, and after witnessing them live for the first time ever I can’t wait to see when those guys will get back to Toronto for another round of their unrelenting Deathcore.

Setlist
Death Squad Anthem
Make America Hate Again
Fur and Claw
Slaves Beyond Death
Holy War
No Absolution
Human Target
The Son of Misery
New Gods
Reign of Darkness
Puppet Master

Band members
Chris “CJ” McMahon – vocals
Andy Marsh – lead guitar
Sean Delander – rhythm guitar
Kevin Butler – bass
Jesse Beahler – drums

CANNIBAL CORPSE

The wait for the one and only Death Metal institution CANNIBAL CORPSE was finally over when it was getting close to 9:30pm, and from the very first note of the opening track Code of the Slashers, from their latest opus Red Before Black, released in 2017, until the closing moments from their gruesome all-time classic Hammer Smashed Face, it was pure Armageddon in the form of ass-kicking Death Metal. The unstoppable vocalist George “Corpsegrinder” Fisher (I still don’t know how he can headbang like a beast for so long), guitarists Rob Barret and Erik Rutan (the lead singer and guitarist for Hate Eternal who is filling in on guitar during this tour due to the arrest of guitarist Pat O’Brien), the phenomenal bassist Alex Webster, and the precise drummer Paul Mazurkiewicz set The Opera House on fire with their visceral and absolutely perfect Death Metal, playing “horror classics” from almost all of their albums (which you can find on sale from their own BandCamp page), including my favorite Cannibal Corpse song of all time, Devoured by Vermin, from their 1996 album Vile, and the sensational Kill or Become, from their 2014 album A Skeletal Domain, where you could see several fans “firing up their chainsaws” together with Corpsegrinder. It was so insane I could barely take my phone out for some decent pictures.

Every single time I watch Alex Webster live I get more and more impressed with his technique, feeling and groove, proving why he’s in my opinion the best extreme music bassist of all time. As a matter of fact, how many Death, Thrash and Black Metal bands have bassists that you can actually listen to in detail while performing live? Not only that, but the band’s setlist was also impressive as already mentioned, and that’s probably one of the reasons why Alex and the guys were so brutal and awesome on stage this Friday. Songs like Red Before Black, Gutted, Make Them Suffer and Stripped, Raped and Strangled were the catalyst of some of the most demented circle pits you can imagine, while Scourge of Iron and the demonic Evisceration Plague were perfect for breaking our necks headbanging like maniacs. Another thing that was really entertaining during the band’s flawless performance were all the jokes by Corpsegrinder, showing that behind that brutal headbanging beast there’s a very kind and fun guy. When he offered “NOTHING” from the bottom of his heart to the fans we could see how excited he was with the warm and violent reception from the crowd. And what to say about his personal intro in I Cum Blood, where he dared the fans to try to headbang like him (and, of course, we would all fail miserably in his own words)? That’s what I call a frontman, my friends, never letting the energy go down and always reminding us why the band has been on the road alive and kicking since 1988. When the show was over, you could see many, many fans dripping wet of their own (and others’) sweat and beer leaving the venue without a jacket when the temperature was around -5oC, mostly due to the adrenaline still flowing through their veins, and you know what? That’s when you know there was a damn good Death Metal night in Toronto, obviously spearheaded by our beloved Cannibal Fuckin’ Corpse.

Setlist
Code of the Slashers
Only One Will Die
Red Before Black
Scourge of Iron
Staring Through the Eyes of the Dead
The Wretched Spawn
Devoured by Vermin
Unleashing the Bloodthirsty
Gutted
Kill or Become
A Skull Full of Maggots
Evisceration Plague
Firestorm Vengeance
Death Walking Terror
I Cum Blood
Make Them Suffer
Stripped, Raped and Strangled
Hammer Smashed Face

Band members
George “Corpsegrinder” Fisher – vocals
Erik Rutan – lead guitar
Rob Barrett – rhythm guitar
Alex Webster – bass
Paul Mazurkiewicz – drums

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2017

“We sort of find that music tames the beast, you know.” – Malcom Young

It’s that wonderful time of the year again, and I’m obviously not talking about Christmas and the holiday season. In a year where we lost so many talented and important musicians in rock and heavy music for various reasons, including Malcolm Young (AC/DC), Chris Cornell (Soundgarden), Chester Bennington (Linkin Park), Trish Doan (Kittie), Martin Eric Ain (Celtic Frost), Warrel Dane (Nevermore, Sanctuary), John Wetton (Uriah Heep), David Zablidowsky (Adrenaline Mob, Trans-Siberian Orchestra), Chuck Mosley (Faith No More) and Cherry Taketani (Okotô, Hellsakura, NervoChaos), among several others, not to mention the end of the unmatched Black Sabbath, who we were able to witness live one last time during their farewell tour The End, only the freshness and energy flowing from brand new metal music can give us hope, not allowing Heavy Metal and Rock N’ Roll to die as many like to prophesy every single year.

Having said that, it’s time to blow our goddamn speakers with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2017, excluding EP’s, best of’s and live albums, taming the beast inside us all as wisely said by AC/DC’s heart and soul Malcolm Young (R.I.P.). And as 2017 was the year of bands that cannot be considered dinosaurs in metal (or at least not yet), such as Trivium and Mastodon, that certainly points to a bright future ahead for Heavy Metal with their recent releases because, as you know, we won’t have behemoths like Iron Maiden, Judas Priest and Metallica kicking ass on stage forever. By the way, this was definitely a fantastic year for Mastodon, who not only released one of the best albums of 2017, the excellent Emperor of Sand, but they also had some extra energy to burn with the classy EP Cold Dark Place, which by the way is part of our top 10 EP’s of the year (as you’ll see after our top 10/20 list). Alright, without further ado, turn up the volume and enjoy our 2017 list… LET THERE BE ROCK!

1. Trivium – The Sin and the Sentence (REVIEW)
A superb album full of fast and intricate riffs, poetic lyrics, a sensational new drummer and, above all, the return of Matt’s trademark screams.
Best song of the album: Betrayer

2. Kreator – Gods Of Violence (REVIEW)
We shall praise the best Teutonic Thrash Metal institution of all time, as the gods of violence come alive.
Best song of the album: Totalitarian Terror

3. Blaze Bayley – Endure And Survive (REVIEW)
The indomitable Blaze Bayley returns with the second installment of Infinite Entanglement, his most ambitious project to date.
Best song of the album: Blood

4. Mastodon – Emperor of Sand (REVIEW)
Follow the inspirational story of a desert wanderer who has been handed a death sentence in this excellent album of Progressive Metal.
Best song of the album: Word to the Wise

5. Accept – The Rise of Chaos (REVIEW)
Let total chaos and destruction rise to the sound of the brand new album by the unstoppable Teutonic masters of Heavy Metal.
Best song of the album: Analog Man

6. Moonspell – 1755 (REVIEW)
An orchestral and emotional concept album that will take you to the year when a giant earthquake destroyed the city of Lisbon.
Best song of the album: Todos Os Santos

7. Striker – Striker (REVIEW)
Canadian Heavy Metal has never been more vibrant and rapturous than this.
Best song of the album: Born To Lose

8. Divine Element – Thaurachs Of Borsu (REVIEW)
Witness the passage of a soldier through various levels of consciousness about the reality of war and human society.
Best song of the album: Thaurachs Of Borsu

9. Torture Squad – Far Beyond Existence (REVIEW)
Don’t cross the path of one of the most respectful bands from the Brazilian Thrash and Death Metal scene.
Best song of the album: Blood Sacrifice

10. Solitary – The Diseased Heart of Society (REVIEW)
Four veteran thrash metallers canalizing all the hatred, degradation and perversions of our modern-day society into their music.
Best song of the album: Architects of Shame

And here we have the runner-ups, completing the top 20 for the year:

11. Karkaos – Children Of The Void (REVIEW)
12. Prometheus – Consumed In Flames (REVIEW)
13. Battle Beast – Bringer Of Pain (REVIEW)
14. Terrifier – Weapons of Thrash Destruction (REVIEW)
15. Body Count – Bloodlust (REVIEW)
16. Dzö-nga – The Sachem’s Tales (REVIEW)
17. Cradle of Filth – Cryptoriana – The Seductiveness of Decay (REVIEW)
18. Cannibal Corpse – Red Before Black (REVIEW)
19. Infernäl Mäjesty – No God (REVIEW)
20. Katharos XIII – Negativity (REVIEW)

As aforementioned, we also have for you this year our Top 10 EP’s of 2017, ranging from the most rebellious form of Deathcore to the most melodic type of Symphonic Metal, from visceral Doom Metal to demonic Black Metal, and so on. In addition, those bands hail from all four corner of the earth, proving once again that it doesn’t matter where you go you’ll always be able to find first-class metal music, including all of its genres and subgenres, to please your avid metallic ears.

1. Primal Age – A Silent Wound (REVIEW)
2. Sinners Moon – Far Beyond The Stars (REVIEW)
3. Aversio Humanitatis – Longing for the Untold (REVIEW)
4. Loathfinder – The Great Tired Ones (REVIEW)
5. Ljosazabojstwa – Sychodžańnie (REVIEW)
6. Lorn – Arrayed Claws (REVIEW)
7. Jupiter Hollow – Odyssey (REVIEW)
8. Dö – Astral: Death/Birth (REVIEW)
9. Mastodon – Cold Dark Place (REVIEW)
10. Afire – Afire (REVIEW)

Do you agree with our list? What are your top 10 albums of 2017? If you want to check another awesome list, I highly recommend Antichrst Magazine’s Top 10 Albums of 2017 (Editorial Staff), a great online publication that we at The Headbanging Moose also contribute to on a regular basis. Also, don’t forget to tune in to Timão Metal every Tuesday on Rádio Coringão for a blazing fusion of metal and soccer, and to The Headbanging Moose Show every Thursday on Midnight Madness Metal e-Radio for the best of underground metal from all over the world!

Metal Xmas and a Headbanging New Year! See you in 2018!

Actually, before all is said and done, here’s for you the 2017 Christmas single from Norwegian Melodic Power Metal project Aldaria called When The Time Has Come, featuring several renowned guest musicians such as Ralf Scheepers (Primal Fear), Yannis Papadopoulos (Beast In Black),  Lars Rettkowitz (Freedom Call) and Morten Gade Sørensen (Pyramaze), among others, with 100% of all income of this single being donated to Cancer Research. “This is a very important cause for me, as I lost my mother to this horrible disease in 2010. The single will be available across all streaming and digital platforms, and on Aldaria’s official webstore, where you will get a special edition with a lossless audio file, instrumental, high resolution cover art, and lyrics”, commented guitarist Frode Hovd, the mastermind behind Aldaria. Let’s all support such important cause!

Album Review – Cannibal Corpse / Red Before Black (2017)

Always loyal to their foundations and sounding rawer and more aggressive than ever, here comes the most hardworking act in Death Metal with another first-class onslaught of sheer brutality.

If there’s a band in extreme music that not only remains loyal to their foundations, but that also keeps delivering excellence with each and every album release, that band are American death metallers Cannibal Corpse. This Buffalo-based Death Metal institution never disappoints, always providing us fans everything we crave in extreme music, playing their music almost to perfection while maintaining a high level of rawness and aggressiveness in their sonority at all times, which is exactly the case in Red Before Black, the fourteenth studio album in their vile, ruthless and gory career. Having said that, do you have what it takes to face another brutal installment by the Corpse?

Released three years after the good A Skeletal Domain and featuring a slashing artwork by American comic book artist Vince Locke, Red Before Black not only proves why Cannibal Corpse are still alive and kicking after almost 40 years on the road, fighting against all odds and always going against anything that can be considered mainstream, but it also shows that there’s no sign of the band slowing down or venturing through less violent fields. Quite the contrary, it seems that the Corpse is thirstier for guts, entrails and blood than ever.  “We always try to make our music aggressive, but where an album like ‘A Skeletal Domain’ was definitely aggressive, it has a targeted refinement that the new album doesn’t. ‘Red Before Black’ is as well executed as anything we’ve done, but it has a rawness to it that we haven’t had in a long time,” asserted bassist Alex Webster.

Raw and putrid sounds impregnate our ears from the very first second in Only One Will Die, with the guitars by Pat O’Brien and Rob Barrett sounding pulverizing while George “Corpsegrinder” Fisher barks manically as usual, showing why he’s one of the most respected and consistent growlers still in action. Furthermore, its lyrics reek of traditional Cannibal Corpse (“Both of us will throttle / Strangling with rage / Both consumed by madness, revenge has us enslaved / Both are badly wounded / And struggle to survive / Both are fighting to the death but only one will die”). Brutality keeps flowing from all instruments in the fantastic title-track Red Before Black, where the competent old school drummer Paul Mazurkiewicz maintains the pace at a frantic level while Corpsegrinder vociferates the song’s lancinating name ferociously. And those guys never get tired of blasting sheer Death Metal to our metallic ears, delivering violence and bloodshed from start to finish in this ominous circle pit-generator Code of the Slashers, with their always demonic guitar solos enhancing the song’s electricity to the limit; whereas Shedding My Human Skin is mid-tempo slashing tune where guitars penetrate deep inside our mind while Alex and Paul keep punching us in the head ruthlessly. The song loses its taste a bit after a while, though, but it’s still a decent creation by our beloved Corpse.

Get ready to be massacred by Corpsegrinder and his henchmen in Remaimed (let’s see if you can survive this hurricane of Death Metal), with all instruments played with extreme violence, in special the bass by Alex who once again proves why he’s in my humble opinion the best Extreme Metal bassist of all time; followed by Firestorm Vengeance, a heavy-as-hell metal tempest ignited by putrid, raw riffs that grow in intensity until all hell breaks loose, led by the unstoppable Paul on drums. Put differently, if you’re getting to know Cannibal Corpse at this point in your life, this is a very good sample of their more contemporary sound. Heads Shoveled Off is perfect for banging your head like Corpsegrinder himself, while Paul keeps demolishing his drums and the guitar duo Pat and Rob shows no mercy by cutting our ears with their sharp-edged strings, not to mention the song’s slashing words (“Back in Nam he killed a man / A shovel was used to cut his head off / Now forever changed lust to decapitate / Chop at the neck to keep the skull intact / Going insane / Come back deranged”), and displaying hints of progressiveness but still maintaining the band’s crude sonority, Corpus Delicti is another great job done by Rob and Pat with their axes, delivering amazing riffs and solos nonstop.

Red Before Black Collectors Bundle

In Scavenger Consuming Death we have the pleasure to witness Mr. Webster doing what he does best, shaking the foundations of the earth with his devilish bass lines, also presenting a fantastic chorus to follow along with Corpsegrinder, as well as visceral guitar solos and a thrilling pace. In other words, it can’t get any more Cannibal Corpse than this. The crude, primeval sonority found in In the Midst of Ruin, a beyond perfect tune for some carnage inside the circle pit, takes us back to the band’s early days, with Alex Webster firing bestial, rumbling tunes from his bass; while Destroyed Without a Trace, the second to last tune in Red Before Black, is filled with the band’s trademark harmony and aggressiveness (and a Corpsegrinder sounding more enraged than you can imagine), with all breaks and changes from slower, heavier moments to sheer devastation making it a great choice for their live concerts. Lastly, closing this crushing record we have more of the band’s old school Death Metal in Hideous Ichor, which despite being slightly below the rest of the album in terms of quality, it’s still very enjoyable if you’re a longtime fan of the band.

Metal Blade Records kind of surprised us all by uploading the full album on their YouTube channel, but of course in case you’re also a “Corpse addict” like myself you’re certainly going to buy your favorite version of the album at their webstore, like the Red Before Black Collectors Bundle, including among a ton of pretty cool stuff a bonus CD named “Blood Covered”, featuring Cannibal Corpse turning some metal classic by Accept, Metallica, Kreator, Possessed and other bands into their own infernal sound. Red Before Black exhales pure Cannibal Corpse, and it will surely maintain this fantastic Death Metal horde relevant in the minds of old school metal fans, it will show newcomers to the world of heavy music how Death Metal should always be played, and last but not least, it will keep haunting the souls of those who are not brave enough to face the most hardworking band in the history of extreme music.

Best moments of the album: Only One Will Die, Red Before Black, Heads Shoveled Off and Scavenger Consuming Death.

Worst moments of the album: Shedding My Human Skin and Hideous Ichor.

Released in 2017 Metal Blade Records

Track listing 
1. Only One Will Die 3:24
2. Red Before Black 3:12
3. Code of the Slashers 4:45
4. Shedding My Human Skin 3:28
5. Remaimed 4:13
6. Firestorm Vengeance 3:43
7. Heads Shoveled Off 3:37
8. Corpus Delicti 3:29
9. Scavenger Consuming Death 4:33
10. In the Midst of Ruin 3:25
11. Destroyed Without a Trace 4:01
12. Hideous Ichor 4:33

Limited edition bonus disc “Blood Covered”
13. Sacrifice (Sacrifice cover) 3:04
14. Confessions (Possessed cover) 2:58
15. No Remorse (Metallica cover) 6:16
16. Demon’s Night (Accept cover) 4:17
17. Bethany Home (A Place to Die) (The Accused cover) 3:20
18. Endless Pain (Kreator cover) 3:11
19. Behind Bars (Razor cover) 2:20

Band members
George “Corpsegrinder” Fisher – vocals
Pat O’Brien – guitar
Rob Barrett – guitar
Alex Webster – bass
Paul Mazurkiewicz – drums

Guest musician
Erik Rutan – backing vocals on “Only One Will Die”, lead guitar on “In the Midst of Ruin”

Concert Review – Cannibal Corpse & Behemoth (Phoenix Concert Theatre, Toronto, ON, 02/24/2015)

If you want to live in the bitter cold of Toronto, you have to kill or become.

OPENING ACTS: Tribulation and Aeon

cannibal corpse_behemoth_winter tour 2015If you live in Toronto or anywhere nearby you know how bitterly cold the past couple of months have been. For instance, I personally don’t remember when we had temperatures above the freezing mark (or even above -5°C) for the last time, and it looks like February 2015 is about to become the coldest month in the history of Toronto. Well, nothing better than a hotter-than-hell extreme music night to warm up the hearts of lots of headbangers in the city, right? The venue chosen for this awesome gathering was the always welcoming Phoenix Concert Theatre, where friends wearing the T-shirts of their favorite extreme bands and even a group of girls with their well-crafted corpsepaint were able to enjoy some beers together, headbang like motherfuckers and especially slam into the circle pits.

The bands chosen to liven this mini-festival up were the excellent Swedish Death Metal bands TRIBULATION and AEON, both raising the flag of Scandinavian metal really high with their ferocious performances. If you truly love extreme music but have never heard of either Tribulation or Aeon, I kindly ask you to please go check these two bands: you’ll be surprised with how good they are. The first band was Tribulation, playing a very technical and progressive Death Metal permeated with elements from Black and Doom Metal and singing about darkness, horror, vampires, death and all other of those “beautiful” themes. In case you want to know more about this great Swedish band, my suggestions are the songs Beyond the Horror, Rånda and When the Sky Is Black With Devils, masterfully executed by this four-piece act in front of an avid Torontonian crowd.

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Aeon @ Phoenix Concert Theatre, Toronto, ON, 02/24/2015

After a short break it was time for Aeon to deliver their infernal music, blasting everyone’s ears and necks with each and every song played. Lead singer Tommy Dahlström is a beast on vocals (and you can easily notice he’s a huge fan of Cannibal Corpse by his stage performance), perfectly vociferating the violent lyrics of all songs of their brutal setlist, with highlights to the opening song Satanic Victory and also to the amazing Kill Them All and Blessed by the Priest. In addition, how can I describe the performance of drummer Emil Wiksten? That guy is like an unbelievable human stone crusher behind his drums so fast and precise he is, which added a lot of power and fury to the band’s performance. As I said, go after the music by Tribulation and Aeon as quick as the blast beats by Emil!

BEHEMOTH

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Behemoth @ Phoenix Concert Theatre, Toronto, ON, 02/24/2015

It was around 8:45pm when the iconic Nergal and his horde of darkness hit the stage with an incredible concert, both in terms of their ominous music and their unique theatrical performance, and it’s amazing how they were capable of delivering so much content in such a limited space. Still promoting their most recent album, the impeccable The Satanist, which even after one year of its release it continues to astonish me, Polish Black/Death Metal masters BEHEMOTH proved why they’re one of the most influential and portentous groups in the world of extreme music.

Although they didn’t play the best song of The Satanist in my opinion, “Blow Your Trumpets Gabriel”, the songs selected from the album were just as superb live, with highlights to Ora Pro Nobis Lucifer and Ben Sahar. Older classics also helped keep the audience mesmerized by their obscurity, such as Chant for Eschaton 2000 and Slaves Shall Serve. However, I believe almost everybody will agree with me when I say they simply kicked all possible asses with the already classic O Father O Satan O Sun!, a song that live sounds even more grandiose than its studio version, augmented by the band’s special satanic attire worn during its execution. This might sound stupid for a lot of people, but Behemoth performing this song at the Oscars would have been beyond spectacular. Unfortunately, the world and all mere mortals that live in it don’t seem ready for Behemoth yet.

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Behemoth @ Phoenix Concert Theatre, Toronto, ON, 02/24/2015

Also, it’s undeniable that Nergal is a true Extreme Metal leader and he’s passionate about what he does, and consequently he had almost all eyes staring at him during the whole concert, but the other band members are also wonderful and skillful musicians who help Nergal achieve the level of excellence he has in his mind for the band. Who didn’t enjoy the performance by bassist Orion, who looked like an even more devilish version of Gene Simmons’ stage persona The Demon? And what about the dark riffs by Seth or the rhythmic drumming by Inferno? What an awesome band, and if you missed them this time, may Lucifer have mercy on your soul. Or not.

Setlist
1. Ora Pro Nobis Lucifer
2. Conquer All
3. Ben Sahar
4. Decade of Therion
5. Messe Noire
6. Ov Fire and the Void
7. At the Left Hand ov God
8. Slaves Shall Serve
9. Chant for Eschaton 2000
10. O Father O Satan O Sun!

Band members
Adam “Nergal” Darski – lead vocals, guitars
Tomasz “Orion” Wróblewski – bass guitar
Patryk Dominik “Seth” Sztyber – guitars
Zbigniew Robert “Inferno” Promiński – drums and percussion

CANNIBAL CORPSE

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Cannibal Corpse @ Phoenix Concert Theatre, Toronto, ON, 02/24/2015

In order to properly close the night and pulverize anyone or anything that was still alive after Behemoth, Death Metal titans CANNIBAL CORPSE arose from the crypts of hell to transform the entire venue into their own “skeletal domain”, obviously promoting their most recent album, the visceral A Skeletal Domain. If there’s one thing that I love about Cannibal Corpse is the fact that they’re a band that always moves forward, despite having a solid past which they could live on forever like many classic bands do. All their latest albums are brutally superb, and technically speaking they’re getting better and better year after year.

Their setlist was an awesome mix of old classics and newer songs, including almost one track from each one of their albums, from Eaten Back to Life (1990) to last year’s A Skeletal Domain. Mosh pits and pure headbanging erupted with classics such as A Skull Full of Maggots, Demented Aggression, Make Them Suffer and The Wretched Spawn, while the selected songs from their new album for this tour, in special the great Sadistic Embodiment and the steamroller Kill or Become, intensified even more the hurricane that was happening on the “dance” floor.

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Cannibal Corpse @ Phoenix Concert Theatre, Toronto, ON, 02/24/2015

Moreover, anything I say about the band members will just be pure repetition of common sense: they are all really talented musicians that love Death Metal above all things (well, Corpsegrinder said he loves pussy above all things), and that translates into pure electricity when they’re performing on the stage. You can barely see Alex Webster’s face, but he’s there delivering the most intricate bass lines you can find in extreme music, while Pat O’Brien and Rob Barrett keep firing their evil riffs and Paul Mazurkiewicz his nonstop beats. And as I always say, Mr. George “Corpsegrinder” Fisher is the face of Cannibal Corpse and the one to give life (or death) to the band’s gory lyrics while headbanging like a fuckin’ chopper in a way only he is capable of. Besides, seeing him scratching himself with one of Paul’s drumsticks due to an incontrollable itch in the middle of his back, and you know he’s not a small guy, was priceless.

When Cannibal Corpse played their last two songs, the unparalleled classics Hammer Smashed Face and Devoured by Vermin (my top Cannibal Corpse song of all time), they turned the whole venue into a fuckin’ monstrous mosh pit with absolutely no place to hide, showcasing how awesome those songs are. But do you think anyone in the audience complained about it? There were so many smiles and so much sweat everywhere when the show was over I’m pretty sure the fans of the Corpse cannot wait for them to storm Toronto once again and heat up our chilly winter with their perfect Death Metal. Fire up the chainsaw!

Setlist
1. Scourge of Iron
2. Demented Aggression
3. Evisceration Plague
4. Stripped, Raped and Strangled
5. Kill or Become
6. Sadistic Embodiment
7. Icepick Lobotomy
8. The Wretched Spawn
9. Pounded into Dust
10. I Cum Blood
11. Make Them Suffer
12. A Skull Full of Maggots
13. Hammer Smashed Face
14. Devoured by Vermin

Band members
George “Corpsegrinder” Fisher – vocals
Pat O’Brien – guitar
Rob Barrett – guitar
Alex Webster – bass
Paul Mazurkiewicz – drums

Album Review – Cannibal Corpse / A Skeletal Domain (2014)

Long live the Corpse and their wicked domain of Death Metal.

Rating4

Cannibal Corpse_A Skeketal DomainIn my humble opinion, the most important legacy the city of Buffalo, New York (also known as “The Queen City”) will ever leave to humanity is the unrivalled twisted music by American Death Metal heavyweights Cannibal Corpse. Not only that, I personally consider George “Corpsegrinder” Fisher, Alex Webster & Co. the best, most cohesive and most amusing Death Metal band of all time, and now once again they prove us all why they’re so awesome with the excellent A Skeletal Domain, the thirteenth studio album in their path of ruthless devastation.

One might ask how they keep being relevant in heavy music after all those years, maintaining their musicality almost intact but without sounding repetitive at the same time. Well, although every Cannibal Corpse album has the band’s hallmarks such as their gruesome lyrics and intrinsic brutal instrumental and vocals, those guys somehow manage to reinvent themselves and offer something distinct in each of their releases. For instance, A Skeletal Domain provides us a darker and more freakish sounding than their previous albums, as mentioned by bassist Alex Webster in some recent interviews. Just take a look at the Stygian album art and you’ll have an idea of how eerie this album is.

In order to kick off the album the best way possible, the band invites us to join them in this dark domain of music with the aggressive High Velocity Impact Spatter, which right after a quick Horror movie-ish intro becomes a Death Metal feast full of excellent riffs, solos and creativity led by bassist Alex Webster and guitarists Pat O’Brien and Rob Barrett. Moreover, the initial roar by Mr. Corpsegrinder and the desperate way he screams the chorus prove once again why he’s and will always be the true voice of Cannibal Corpse. Following that sonic massacre we have Sadistic Embodiment, a song that couldn’t be more Cannibal Corpse than that, with Alex Webster kicking ass one more time and Paul Mazurkiewicz always killing on drums; and Kill or Become, a song about a zombie outbreak with a beautiful message in the lyrics (“Fire up the chainsaw / Hack all their heads off / Fire up the chainsaw / Hack their fucking heads off”), with the instrumental parts reminding me of another Cannibal Corpse track, “As Deep as the Knife Will Go”, intensified by a sick guitar solo by Rob Barrett. Do I need to mention it is more than perfect to be part of any truly disgusting zombie movie soundtrack?

Cannibal CorpseAnd their rampant Death Metal extravaganza goes on with the amazing title-track, A Skeletal Domain, another lesson in bestiality with highlights to its insane double bass and superb riffs. I simply love the chorus and how Corpsegrinder “recites” the lyrics, especially when he says people are turning into some kind of creatures that are “not a zombie not a human”. Can you imagine how grotesque those creatures are? Anyway, Headlong into Carnage is a straightforward song made for breaking your neck due to the intensity which you’ll bang your head, where the instrumental parts sound like old school Thrash Metal in many moments, followed by The Murderer’s Pact, which is more melodic than all previous tracks and where Corpsegrinder’s voice and the guitar riffs end up making a very interesting duo.

Funeral Cremation, with its Black Metal elements and very macabre lyrics, and the “smooth” Ice-Pick Lobotomy, with its complex musicality (especially the bass lines and all the guitar shredding), keep the overall quality of the album really high, while Vector of Cruelty, despite not being as powerful as the other tracks, offers us pure traditional Death Metal with some interesting rhythmic breaks. And what can I say about the fast and furious Bloodstained Cement? The violence in its lyrics is outstanding (“Smash his skull onto the pavement / Make the bastard pay / Don’t stop until it cracks / And spills out his brain”), and I cannot wait for the absurd circle pits this song will generate if played live.

Lastly, there’s still time for more extreme music with Asphyxiate to Resuscitate, with another awesome performance by Mr. Corpsegrinder and some excellent drumming blended really well with some sick guitar lines and solos, and the fast and heavy neck-breaking tune Hollowed Bodies, with its evil guttural vocals and Paul Mazurkiewicz stealing the show again, to finish exterminating whoever is still alive. However, regardless of all that savagery, the guys from Cannibal Corpse are far from being heartless individuals, as A Skeletal Domain is dedicated to the memory of Michael Trengert, who was the managing director of Silverdust Records and former promoter at Nuclear Blast and manager of Metal Blade Records Europe. He passed away on September 23, 2013, leaving many friends all over the world.

In addition, as I’ve already mentioned a billion times before, there would be no Cannibal corpse without bassist Alex Webster. As a matter of fact, that guy is not just a regular Death Metal bassist like those ones you can barely listen to and who usually don’t make any difference to their bands’ musicality. The architect and mastermind behind the realm of the Corpse is a fuckin’ wild beast responsible for the darkest, sickest, most innovative, most fiendish and most intricate bass lines one can ever imagine in the world of extreme music, elevating the quality of their records so much even some people who loathe traditional Death Metal have to acknowledge how good Cannibal Corpse are. Pay attention to all the bass lines in each and every song from A Skeletal Domain, they’re beyond impressive!

In summary, A Skeletal Domain might not be as magnificent as Vile (1996), Kill (2006) or Torture (2012), which I consider the best Cannibal Corpse albums of all time, but it is indeed an amazing record that will surely keep the Corpse alive after almost 30 years of wildness, expanding their perverse domain of Death Metal and, of course, it’s also an excellent choice to invest your hard-earned money (go for the “A Skeletal Domain Deluxe Bundle”, it’s just plain awesome) if you’re a real fan of traditional Death Metal.

Best moments of the album: High Velocity Impact Spatter, A Skeletal Domain and Bloodstained Cement.

Worst moments of the album: The Murderer’s Pact and Vector of Cruelty.

Released in 2014 Metal Blade Records

Track listing
1. High Velocity Impact Spatter 4:06
2. Sadistic Embodiment 3:17
3. Kill or Become 3:50
4. A Skeletal Domain 3:38
5. Headlong into Carnage 3:01
6. The Murderer’s Pact 5:05
7. Funeral Cremation 3:41
8. Ice-Pick Lobotomy 3:16
9. Vector of Cruelty 3:25
10. Bloodstained Cement 3:41
11. Asphyxiate to Resuscitate 3:47
12. Hollowed Bodies 3:05

Band members
George “Corpsegrinder” Fisher – vocals
Pat O’Brien – guitar
Rob Barrett – guitar
Alex Webster – bass
Paul Mazurkiewicz – drums

Album Review – Phobiatic / Fragments Of Flagrancy (2014)

Get ready for a technical and blustering sonic havoc by this terrific Death Metal band from Germany.

Rating4

COVERThere’s only one word that comes to my mind after listening to Fragments Of Flagrancy, the second full-length album by German Technical Death Metal band Phobiatic, and it’s DEVASTATION. That’s what this awesome band from Essen, Germany, offers us with their new album: a violent sonic war full of complex riffs and devastating drums, perfect for fans of the atrocious music by old school icons such as Morbid Angel, Dying Fetus and Suffocation, with an extra dose of modernity that intensifies their musicality even more.

Perhaps the most noticeable difference from their first album, disregarding of course the fact that all band members are a lot more mature and experienced now, is the change in vocals from the deeper guttural by Christian Markwald to the more technical and sharper voice by Sebastian Meisen. This change reminds me a lot of what happened to the music by American Death Metal masters Cannibal Corpse when Chris Barnes was replaced by George “Corpsegrinder” Fisher, which in my humble opinion was indeed a very positive change for the band.

It seems that Phobiatic wanted to send a message to all listeners as soon as the opening track starts, the raging Bugging Operation, telling everyone something like “this is what we do, and if you don’t like it just fuck off”. It’s a devilishly technical and violent song, similar to what Brazilian Death Metal monsters Krisiun do and highly recommended for all lovers of extreme brutality, or in other words, not for the faint of heart. In Downward Spiral they were able to accelerate things even more, with an outstanding chorus and drummer Kai Bracht showing no mercy for his drum set, while Ripped To Shreds showcases an impressive synchronicity between guitars and drums, with the demonic and boisterous vocals by Sebastian Meisen perfectly fitting all that music havoc. Furthermore, I’m pretty sure bassist Michael Stifft is a huge fan of Cannibal Corpse’s one and only Alex Webster due to the complexity of the bass lines throughout this song.

Then this nonstop Death Metal machine brings us House In Cleveland, which despite being slower than the previous tracks is as heavy as it can be, with focus on deeper guttural vocals, and the superb A Genius Of Manipulation, where the complexity in its very technical and fast drumming and guitar lines is truly above average. Not only that, the violence found in its chorus is another highlight of this extreme metal composition, contributing to elevating it to the status of best song of the whole album. The following tracks, R.A.T.T. and Suitable Method, sound totally inspired by the music of Deicide and Krisiun and remind you that you need to be in really good shape to keep up with their speed and brutality, especially the latter where we have another awesome performance by drummer Kai Bracht, with all music variations making the song even more complex and disturbing. I’m sure you’ll love the last part of this song, it is an amazing lesson in Death Metal.

phobiatic-photo3But before you can raise your white flag amidst all the rage and violence bred by Phobiatic, the band still has time to deliver us some more awesomeness in form of Death Metal: in Abnormal Dilation, vocalist Sebastian Meisen adds some desperate high-pitched screams to his vocal range, while Like Pigs In The Dirt goes straight to the point with its old school approach (and don’t forget to pay attention to the “beautiful” message in the lyrics). And lastly, we have Metropolis (Of The Dead), a more obscure track with a melancholic intro that suddenly turns into another pure Death Metal tune, with highlights to the excellent job done by guitarist Robert Nowak.

You can find Fragments Of Flagrancy on sale here, and I’m sure it will soon be available in other places such as iTunes and some physical stores. Let’s help this amazing brutal band spread their infernal music all over the world and torment our souls for many years to come. After all, that’s what traditional Death Metal is all about.

Best moments of the album: Downward Spiral, A Genius Of Manipulation and Suitable Method.

Worst moments of the album: House In Cleveland and Metropolis (Of The Dead).

Released in 2014 Unundeux/Cargo Records

Track listing
1. Bugging Operation 2:50
2. Downward Spiral 2:41
3. Ripped To Shreds 2:53
4. House In Cleveland 4:41
5. A Genius Of Manipulation 3:38
6. R.A.T.T. 2:42
7. Suitable Method 4:22
8. Abnormal Dilation 2:20
9. Like Pigs In The Dirt 1:45
10. Metropolis (Of The Dead) 5:40

Band members
Sebastian Meisen – vocals
Robert Nowak – guitars
Michael Stifft – bass
Kai Bracht – drums

Album Review – Cannibal Corpse / Vile (1996)

Ladies and Gentlemen, please welcome Mr. George “Corpsegrinder” Fisher.

Rating3

VilecannibalcorpseThe year of 1996 was excellent for heavy music fans, with bands like Sepultura, Slayer, Pantera, In Flames and Stratovarius launching some unique albums, and of course we also had the ferocious Vile from Death Metal icons Cannibal Corpse, this time with a fresh new singer, George “Corpsegrinder” Fisher. Although some old diehard fans didn’t enjoy the change, in my opinion Chris Barnes always sounded like a desperate gorilla choking on his own vomit screaming for help, while Corpsegrinder added more dynamism and creativity to the band’s music.

Devoured By Vermin opens this musical massacre at a very high level, showing what to expect from the rest of the album. This quickly became my top Cannibal Corpse song of all time, even better than their most acclaimed classic Hammer Smashed Face, and even after listening to what was going to be the original version before Barnes left I still prefer the official one the band re-recorded with Corpsegrinder on vocals.

cannibalcorpse1996promophoto1The following three songs keep on “destroying” our necks and bodies: Mummified in Barbed Wire, Perverse Suffering and Disfigured, especially this last one, are perfect for any circle-pits or for a heavy workout at the gym after a stressful day at school or work. With Bloodlands the band seems to give a break to all the insanity with a heavy but slow song, just to get back as fast and destructible as possible with the amazing Puncture Wound Massacre and the instrumental Relentless Beating. The album continues with another great song for a horror movie soundtrack, Absolute Hatred, the violent Eaten from Inside (which has some awesome riffs and solos), and the short but complex Orgasm Through Torture (what a beautiful name). The last song, Monolith, is nice but sounds too generic compared to the rest of the album. Nothing that makes Vile less amazing, though.

There’s not much to say about the totally brutal and gruesome lyrics, or about the insanely evil front cover (if you’re a pussy, go for the censored version of it). Those are trademarks of one of the heaviest bands on Earth and make the final material even better. The guitar players do an excellent job and I’ve already said what I think about Corpsegrinder, but let me focus on Paul Mazurkiewicz and Alex Webster. Paul is not a simple drummer, he’s a ruthless human jackhammer, while Alex is a beast that makes anyone completely forget about Cliff Burton after listening to his demented and unmatched bass lines.

You can say whatever you want about the band with Barnes or Corpsegrinder on vocals, as each fan of the band has their own reasons to prefer this or that guttural style, but one thing is certain: Cannibal Corpse’s Vile kicks some serious fuckin’ ass and is mandatory in the collection of anyone who appreciates some brutal and extremely technical high-quality Death Metal.

Best moments of the album: Devoured By Vermin, Disfigured and Puncture Wound Massacre.

Worst moments of the album: Bloodlands and Monolith.

Released in 1996 Metal Blade Records

Track listing
1. Devoured by Vermin 3:13
2. Mummified in Barbed Wire 3:09
3. Perverse Suffering 4:14
4. Disfigured 3:48
5. Bloodlands 4:20
6. Puncture Wound Massacre 1:41
7. Relentless Beating 2:14
8. Absolute Hatred 3:05
9. Eaten from Inside 3:43
10. Orgasm Through Torture 3:41
11. Monolith 4:24

Band members
George “Corpsegrinder” Fisher – vocals
Rob Barrett – guitar
Jack Owen – guitar
Alex Webster – bass
Paul Mazurkiewicz – drums