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Cancer went to Florida to record their second album, they wanted results and back then there was no better way to get them than convincing Scott Burns to produce your long-play, and if you could get some rehearsal and recording room in Morrisound, then much better. The group could do no wrong, the influence from the bunch of bands in the Tampa scene of those days and the fresh ideas and support from James Murphy were vital to help them reach a much higher level than ever before. The guys made a lot of friends there, like Deicide, Demolition Hammer, Gorguts or Obituary, in fact James was already well-known for them, after the many European dates on which Cancer opened for John Tardy and co. So we have an outrageous British death metal band and its burning ambition and hunger for results, and an experienced talented American guitarist with lots of ideas and creativity: perfect combination.
From the first minute of this record it’s easy to guess what these guys want: intensity, power and complexity. They leave behind the straight raw style on their debut to work much harder on the song-writing, make instrumental passages get lenghty and coherent, and make the disgusting lyrics more notable and crude. John Walker’s voice is reaching a better result, his growling is now deeper, darker and stratospheric, proper for the sick riffing series and the shocking speed on “Corpse Fire”, “Internal Decay” (or should it be “Internal Decadence”?) and “Hung, Drawn & Quartered”, which are a great exhibition of rabid death metal. Velocity is present on most of the several breaks on “Tasteless Incest” or “Burning Casket” as well, the result is definitely amazing and violent when the group speed-up, changing the mid-paced main riff into a total headbanging mad tempo, and Carl Stokes’s blast beats take control and lead the guitars and bass through the composition. On other hand, their sound is not that satisfactory when they decide to calm down and increase the weight on the riffs and let James space to jam as much as he wants during the sometimes excessively long pickin’ parts. It’s not that “Back From The Dead” or the title-track are weak uninspired songs, it’s just that the band choose inappropriate predictable alterations on the riffs and get stuck in the same sequence of these during almost half of the compositions total lenght. I can’t deny they reach a consistent evil climax using that tactic, but it’s easy to make the listener bored with tediousness when you don’t offer an interesting instrumental display. On other numbers like “Gruesome Tasks”, Cancer alternates fast and slow parts, introduce a bunch of rhythm changes, bridges, extended guitar solos and less vocals to reach progression and attempt to make the music more technical. The result is decent, but not splendid; in particular, when they attack together in the most fierce parts of the tunes and all of a sudden slow down, or when they get exhausted trying to vary the riffs as much as possible, then their performance becomes clumsy and incoherent.
There’s pros and cons on this record, but it’s evident that the band has been working hard since their unpolished debut, from almost amateur skills to a solid technique, with still a few weak spots, though, The guitar parts are properly executed, even if I’m afraid John wasn’t in the same level of James, and we all know that different ability and skills between a combo of guitar players of the same group could be disastrous, not this time fortunately. Murphy’s solos are aggressive and surprisingly creative sometimes, other times inconsistent when he abuses of his pedal effects and tricks. The rhythmic section made an honest performance, far from spectacular or unforgettable but efficient. However, don’t look for any Ian Buchanan bass lines in this album, they’re completely unlistenable and impossible to appreciate, blame it on Scott Burns! The production is much similar to his job with Sepultura, rather than his excellent contribution to Death, Terrorizer, Atheist or Exhorder: very clean, dry, slightly modest and weak but balanced, and at few times strenghful. About the lyrics, everything you can expect on a death metal album: gore, guts, amputation, sickness, graves...and zombies! John Walker is a freak of horror movies, I’m sure he had been watching Stuart Gordon, Lucio Fulci, George A. Romero and John Carpenter classic films at night during the recording.
Sadly, we all know what happened next: I don’t think Cancer ever got over the departure of James Murphy, even if it was predictable. His energy, fresh ideas and virtuosism were an essential crucial contribution; I doubt Barry Savage was the proper replacement. Cancer would languish in obscurity during the middle-90’s, offering mediocre CDs and finally breaking-up in 2006. It’s unfair they’re not remembered as much as other British bands like Bolt Thrower, Benediction or Napalm Death. This record is one of the greatest from the glorious days of the Florida death metal fever, and one of the most ambitious marvelous projects Mr. James Murphy has ever taken part on. So all you zombie movies fans and death metal maniacs, check this one out, you won’t regret!
Call it an anomalous phenomenon, but there is something appealing about a familiar sounding album coming from an unfamiliar place. Granted, circa 1991 it wasn't out of the ordinary to hear an album taking its cues from the thrash-infused brilliance of "Leprosy", "Altars Of Madness" or "Beneath The Remains", but having a band come out of the land of Bolt Thrower and Carcass (aka England) that plays in this style is definitely a curious thing. But simply coming out of a novel location alone does not a great album make, and apparently Cancer knew this when they hit the ground running in the early 90s. Suffice to say, this is a band that was in it early on, and what they didn't quite have in originality they more than made up for in nasty, ear-destroying death thrashing quality insofar as "Death Shall Rise, their second LP is concerned.
As a whole, this album could be likened to a rock solid, moderately elaborate structure that rests on a monstrously fortified foundation. Every single piece of this creation acts as a supporting beam of the other, comprising a colossal whole that is insusceptible to any kind of assault via mortal hands or natural disaster. The production (ala Scott Burns of Sepultura fame) is a testament to how the early death/thrash sound can be likened to an iron clad titan, cleaning with a pristine shimmer from the fluttering lead guitar lines, impregnable beneath the density of the crush rhythm guitar sound and the massive battery of the drums, and the face of the beast proves an intimidating glare of hatred in the classical mode in a vocal display that is right along the lines of a mid-ranged bark out of John Tardy or David Vincent from around said time period. The songwriting naturally follows in similar fashion, showcasing an impressive assortment of Slayer and Teutonic Trio influenced mayhem with a slower, almost doom-like trot during the breakdowns that is heavily painted with gloom and agony.
To be sure, this is a band that hasn't given itself over to the always fast, always frenetic approach that was a staple of the genre's genesis under Possessed and early Death material, but is clearly in line with the moderated character that came soon after it and saw atmosphere as being equally as important as velocity and technical flair. "Hung, Drawn and Quartered", the album's lead off chapter, opts for the usual creepy ambient keyboard intro found on an album of this variety, but opts not to put things into full overdrive, but pushes forth at a moderately fast tempo in line with early Obituary and often paces things back to a mid-paced groove that isn't all that removed from a typical Entombed groove. Interestingly enough, it isn't until the 3rd song "Burning Casket" that things turn into a frenzied, thrashing celebration after the traditional Possessed model, and even then the landscape is still painted with a lot of catchy and mid-paced riffs and beats. This mixture of slow and moderately fast serves the band fairly well and dominates most of the album, giving way a bit in the case of "Corpse Fire" and "Internal Decay", both of which go a lot faster, employ frequent blast beats and somehow manage to veer into early Cannibal Corpse territory a bit.
Ultimately, despite all the right elements and being at the right place, at the right time, Cancer didn't take off the way most of their contemporaries did. Be this as it may, just about any self-respecting fan of early death metal should look into this album, as it embodies all of the great elements of the early 90s and almost none of its flaws. It might be a bit presumptuous to put it up there with the likes of "Cause Of Death", "Legion" and "Eaten Back To Life", but it definitely crosses into very similar territory and not only in terms of stylistic attributes. It's definitely the first album to go to insofar as this band is concerned and is deserving of a much bigger audience than what it has managed to attract up until now. Don't be on the wrong side of death when he rises, because according to this album, he has a pretty damned massive scythe to take you out with.
Here is an album that occasionally gets lost in the shuffle when discussing the best material to come out during the year 1991, which is one of the best years for metal in general, especially death metal. I don't want to lead you on and say that "Death Shall Rise" is the epitome of what death/thrash should be and that it is the greatest album of the subgenre, because it really isn't, but it is still an album that stands tall on its own feet and delivers a great eight-track onslaught of what you would expect a death/thrash record to sound like and one that certainly deserves some more recognition.
Cancer already had an uphill battle when releasing their sophomore album, because their fellow UK comrades in Bolt Thrower and Benediction would both release two excellent albums later in the year. Luckily, this group of metalheads had a different sound than their countrymen, not settling for a doomier or groovier sound, instead they would release an unbridled assault that became apparent once the classic "Hung, Drawn and Quartered" punched through the listener's speakers. Fast riffs and tremolos that sounded like they could have been written by Chuck Schuldiner himself (Maybe it was because James Murphy played guitar on this album?) and heavy riffs guaranteed to cause some whiplash to the vertebrae are what were to be found on this track, as well as an incredibly catchy chorus (with guest vocals from Glen Benton).
While the first track is the definition of brilliance, the rest never seem to catch up to the precedent set so early on. A lot of the riffs aren't anything overly special or anything that couldn't be heard from other bands that came out before, and the vocals are a little dry. The bass and drums also don't do anything that warrants much attention, either. The closest that Cancer comes to recapturing the greatness from the first track would be on the songs "Back From the Dead" and "Corpse Fire." The former track has a darker edge to it due to some melodies placed throughout, and the later song is a no-nonsense song that never lets up and even features some blast beats. After the eight songs have all gone through, there is an impression that is made on the listener, but it isn't on par with the same that are left by albums like "Dreaming with the Dead," "The Awakening" or "Idolatry." Not that it really matters, this album did have one of the best album covers out there, though, and had the music been as fantastic as the cover art then "Death Shall Rise" could have been an undeniable classic.
"Hung, Drawn and Quartered"
"Back From the Dead"
Originally written for Nightmare Reality Webzine.
If I was asked to sum up the early nineties Florida death metal scene as quickly as I could, rather than explain it in words or play a handful of bands, I'd put this album on. Not that this is in any way a classic album - it's just that rather than stress over picking a handful of Morbid Angel, Death, Obituary, Deicide, et al. songs, I could play “Hung, Drawn and Quartered” and be done with it. Cancer's second album isn't a masterpiece in any sense. It's almost a how-to guide. And of course the oddest part of all is that Cancer weren't even from Tampa, or Florida, or even the US - they came from England. Upon first listen I was expecting a much larger Paradise Lost influence. There is a small amount of Dismember or Entombed to be heard from time to time, but for the most part this is pure Tampa-worship. Naturally, this is only reinforced by the Scott Burns production. Burns' signature sound is personally one of my favourites, but while it's so clear and distinctive, it's also extremely typecasting. In the case of Death Shall Rise, without anything of any stand-out worth, it's ultra-evident. This album at times is even slightly reminiscent of Sepultura's Beneath the Remains, which Burns had produced two years earlier.
But while this sounds like criticism of the album, it's really not. Sure, at times it does sound like John Tardy is screaming over riffs from “Living Monstrosity”, and because of this the band never really gained the following that either Obituary or Death did.... but it's still a worthy, legitimate alternative. This is the album you put on when you can't decide which classic album to listen to. It's all of them at once, and while it loses out on originality, it makes up for it in immediate familiarity. From the first listen this felt like something I had heard many times before. And the songs mesh well - it is not a haphazard collection of other bands' riffs. Each song is well-crafted, the musicians are on par with their contemporaries, and the album will finish well before you expect it to. That is always the mark of a good album. In particular, I'd recommend the songs “Hung, Drawn and Quartered” and “Burning Casket”.
Cancer is a relatively unknown death metal band hailing from Great Britain. Death Shall Rise is their best album in my opinion, and should be heard by all old school death metal fans out there. This music is very simple and heavy. James Murphy provides some tasteful guitar solos on this album and really makes it memorable.
Cancer is heavily influenced by such death metal pioneers as, Possessed, Obituary, Death, Autopsy, and Massacre. Like I stated above, the music doesn't really have a lot of technical flair to it. The production is heavy and loud, it reminds me of a more bass heavy Leprosy.
The album starts off with one of it's strongest tracks in the form of 'Hung, Drawn, and Quartered'. This song is a beast, and is sure to instigate headbanging within seconds! Some other notable songs are, 'Burning Casket', 'Death Shall Rise', and 'Internal Decay'. These aforementioned songs have a solid mix of speed and heavy groove.
When I say groove, I do not mean the metalcore or post thrash style of groove. The grooves here are much in the vein of Celtic Frost, they are very driving. The drum work is laid back and not too impressive. Carl Stokes basically does the same pattern over and over again. The guitar solos are great, James Murphy and John Walker trade solos throughout the entire album.
There really isn't much more to say here. This is a really good album that needs to be heard. If you are an old school death metal fan, and you do not have this then I strongly suggest you pick this album up.