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Within the cannabis subculture, you'll find people so dedicated to this herb that even films, television shows, magazines, clothing and even music is themed around this very substance. Weed is popular, that's obvious but what's surprising is its popularity at such a base wherein these stoners seek out self-complementary comfort with their never-ending use for it to the point where they've man-made their own league of other never-ending partners that all use maryjane as a means to their complete worship. Cannabis Corpse is the answer to the weed subculture for metalheads and an in-turn parody band of famous death metal act Cannibal Corpse.
Now before I say much, I want to say, Cannabis Corpse is actually a really good band surprisingly. For a parody act, you'd think they would just be all talk and not much talent, but featuring Philip Hall of famed contemporary thrash metal act Municipal Waste and bringing his pothead and relatively talented brother into it as well on the skins, you have a lot in store. Everything on this album is almost as good to be a legit Cannibal Corpse album by them themselves minus the dank-influenced lyrics and personality. It's almost like Six Feet Under's stoner vibe were injected into Cannibal Corpse and this came up as the final result. Speaking of which, I'd like to now get into the instruments. As a four piece, the band do this surprisingly well. Nick Poulos' guitar playing is praise-able. He's not moronically boring nor tedious in several select-sections of songs. His tremolo picking is usually done off a lick to connect to another riff and unlike most death metal, he seems to play in a higher drop or at least incorporates a tad more near-melodic moments to the mix (although the band rarely incorporate melody per-se). His playing can almost be compared to the likes of Torture Killer, just at a faster interval.
Other than him, the drumming of Josh Hall is also very credible. His playing is remarkable and his dynamics are incredible. Pounding away at the blast beats during the right moments, filling off on the toms during drum breaks and even incorporating alternating speeds of double kicks during tempos led on by the Poulos' riffs. Sometimes not even using double bass at all. These combinations almost bear the band into the near-territory of progressive metal if it wasn't for the overly-obvious '90s American death metal worship. Heck I'd love to think the band wrote and recorded this entire record sober given how well it's executed, even though I highly doubt they weren't....
Anyway, I'd like to get onto the vocals now. Andy Horn is an obvious Chris Barnes clone at his very core, imitating Barnes in almost every which way shape and form. His growls are a little more understandable than Barnes' earlier work, but a very well contender in almost all the death metal vocalists that have imitated him. He (like Barnes on early CC albums) even gives off an occasional shriek, but this vocal is usually limited to backing parts and kind of have a sound like they're distant and were recorded from the room over. Also it sounds like these shrieks are done in fry scream, I could be wrong but I'm almost positive, which comes off a little strange since that vocalizing technique is usually kept to genres like metalcore and very rarely have ever been a death metal thing. All and all, there's not a ton to say about Horn other than what I just said, but I can't complain that having a Barnes clone for a vocalist was not a bad decision because Chris Barnes himself is one of the biggest renown stoners in metal even to this day.
Anyway, that's about all I can say about this album. It's a without a doubt, a FUN and very talented sophomore record. Definitely deserves to have its own place to be sold on the counters at local smoke shops everywhere. Now if you'll excuse me, I gotta pack a fat bowl and put this CD back to track one. Long live death metal and don't forget; 420 - blaze it, faggot.