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Following the departure of vocalist Chris Barnes and the arrival of George Fisher, Cannibal Corpse decided to go back to the drawing board. The Bleeding had shown flirtations with a more experimental side to the band, but the new release was to return to the days before, the days of brutal death metal. However, their were many changes to the formula to be added this time around, resulting in the album Vile.
The guitar work on this album is far more technical than before hand. The Bleeding had shown a much more intricate style of guitar work with various trills thrown in throughout the release, but Vile was going to redefine what technicality meant. Songs such as Mummified In Barbed Wire and Orgasm through Torture show exactly how talented the two guitarists were, with some frantic fretwork that is equal parts blistering speed and insanely technical when stacked up against the albums that had come before.
George Corpsegrinder Fisher's debut on vocals is an exceedingly energetic one. Starting with an extremely long scream to kick off fan favorite Devoured By Vermin, this album displays George at his most uncaged. The rapid fire delivery on songs like Devoured By Vermin is fantastically realized, but also of note is how decipherable his vocals are when stacked up against other vocalists in the genre, and in particular when compared to his predecessor. Almost every word is extremely clear, making songs such as Disfigured, which speaks of extreme acts of self mutilation, all the more shocking, and he is the perfect voice for such vile lyrics.
Another change is in the lyrical department. The lyrics on previous releases were so extreme that countries wanted them being banned, and with the departure of Chris Barnes, many feared that this extremely recognizable factor of the bands sound would alter. Not so. Whilst the lyrics have indeed been toned down somewhat, they remain as disturbing as ever. The aforementioned Disfigured is the most obvious example of how grotesque the lyrics remained. Disfigured also manages to be the most varied song on the album, with some of it being considerably slower than the majority of the music on here, bringing back memories of The Bleeding.
Mummified In Barbed Wire is my personal favorite song on here, having some very nice guitar work, demented vocals from George, speedy drumming, and some interesting enough lyrics. This is how death metal should sound-fast, brutal, and straight to the point, something that many bands seem to forget about. Album opener Devoured By Vermin is also a fantastic song, and is nearly a set staple, being one of the band's most popular songs, and a flat out classic of the genre, with its speedy sections and much slower, more deliberate middle section.
The down side to this album is that much of it feels too forced. The musicianship is extremely tight, and the vocals are as energetic as they come in death metal, but when the two are put together and played in one albums length, the cracks start to form. The band was trying so hard to show that they could still cut it following the removal of Chris Barnes from the band that the album almost manages to outstay its welcome, being overly long and some of it not being needed.
Also, this album really does not have close to enough variation. Aside from moments on songs like Devoured By Vermin and Disfigured, this album really only seems to have one pace, and that hurts the flow of the album somewhat. Later albums like The Wretched Spawn showed that it doesn't hurt to slow the pace a little bit to allow the more creative moments to seep through, but unfortunately this album was a statement of a band trying to prove a point.
Overall, however, this remains my joint favorite Corpse album, alongside The Wretched Spawn. It contains more energy in its run time than half of the genre put together, and was a fine debut for George Fisher, and a lesson in how to play a guitar. This is an essential death metal release, and is certainly in the upper echelons of the genre.
If there is a single word that would describe the whole scope of Cannibal Corpse's 5th LP and Corpsegrinder's debut with the band, it would be "gratuitous". This should naturally come into play when seeing the original, uncensored version of the album art, which not only succeeds at completely defying the realms of believability, but actually crosses over into the realm of blatant self-parody. It is fairly reminiscent of the comical element of lower budget horror movies like "Piranha" where the intent is a parody of an existing horror movie institution (aka Steven Spielberg and the "Jaws" movies), but the problem is that the handiwork found on here is not attributable to any other outfit except for the culprits themselves, both visually and sound wise. Speaking of the famed carnivorous fish flick, the whole of this album could be likened to that singular incident where poor, hapless party guy played by Jerry O'Connell literally gets his member chewed up, goofy gore for the sheer sake of it with little accounting for order or dramatic effect.
Not a band to be hampered by an elaborate introduction, this chaotic fit of spastic mania kicks off with a simple 1-2-3-4 count on the drums and proceeds to throw every possible trick in the trade at the listener in the first 30 seconds. "Devoured By Vermin" proves to make itself distinct from the bunch simply by being the first song, and walks a familiar road of speedy, thrash-infused Slayer worship meets heavier than an anvil brutality in the guitar tone with a groove based, almost Pantera inspired breakdown in the middle. But whereas later albums starring Corpsegrinder's nasty barks would keep some semblance of coherence in play, this just doubles down on everything, including some ill-timed beat shifts. Sure, this hits the listener like a ton of bricks and definitely reassures all concerned parties that Chris Barnes wasn't the only thing driving this band, but there is literally nothing to grab onto aside from a few scattered riffs amid the mush and a lot of impressive shred solos that generally come with every album put out with the CC moniker.
Interestingly enough, one of the chief weaknesses of the Barnes era actually ended up being corrected on this album, though it came with most of the band's former strengths leaving. The guitar sound on here is a far more meaty and not possessed of that tinny, almost "...And Justice For All" character that made "Butchered At Birth" grating, and the drum sound has also gotten a good bit more thunderous, though this would improve even further on subsequent releases. If this production job had been done on "The Bleeding", it may well have been the best album that this band ever put out, while still being reminiscent of the band's latent thrash metal influences which were much more of a factor in the earlier 90s death metal sound. Corpsegrinder's vocals come off as a bit predictable and rhythmic within the context of the jarring mess of riffs and beats surrounding him, which actually tends to help keep things from becoming outright indigestible.
There are really only 2 songs on here that don't disappear up the band's ghoulish rectum with too many ideas and overly comical lyrical content. The first of them is "Disfigured", which comes off as being more of an extreme groove number than a violent thrasher. Largely this album tends to avoid the groove-infused tendencies of their infamous rival Six Feet Under, but this one sounds like it could have found a place on said band's debut "Haunted". The other, "Monolith", actually makes itself distinct by going the opposite road and throws an epic array of technical riff work and crazed blast beats, compressed into a sub-5 minute time length, and paints a pretty intricate picture of a zombie-apocalypse brought about by the appearance of the same object that caused human evolution in Stanley Kubrick's "2001: A Space Odyssey".
At the end of the day, this thing spends way too much time trying to be repulsive and actually ends up being overly comical and annoying as a result. Much like poorly conceived b-horror movies that degenerate into slapstick territory, this album may come across as insidious and masterful at first listen, but turns stale as soon as a repeated listen ensues. It doesn't have the subtle charm that would otherwise give it a cult-like status in the same vein as the comparable 70s horror flick mentioned earlier ("Piranha"), which has been remade way too many times as it is. In fact, in that particular respect, this album suffers from a similar dilemma, since one can't help but notice a lot of the glaring problems with modern brutal death metal being present on here once you tune out the guitar solos.
Well Chris Barnes is gone and incomes George “Corpsegrinder” Fisher. George is a great death metal singer for sure, but what the hell happened in the music writing department?! The first three Cannibal Corpse albums always had a hook that could pull you in and gut you. “The Bleeding” was less successful in doing this but had a few good hooks. When George joined, I think this band didn’t want to write awesome music anymore. I mean, when I listen to this I hear 4 or 5 different slight variations of 2 different riffs.
The different variations include: a fast, all over the place riff that usually has some chaotic drums behind it, a slower but heavier riff with some slow ride or hi-hat beat behind it, and that seems to be pretty much it. If you want to see what I mean, listen to the first two songs really close together. The only difference is, one uses blast beats and one uses the thrash beat. I mean, pretty much all I hear are these two variations and blast beats. These two variations sound heavy but oh my god do something different every once in a while. “Perverse Suffering” shows just how uninspired they can be with their writing. I mean, you have the fast riff, and then the slow riff, a lot of blast beats, but a pretty cool sounding part that doesn’t last nearly long enough, then the song is over. Add a few horribly timed but awesome screams from George and you pretty much have every song on here. “Disfigured” sounds pretty awesome, this song actually sounds like they might have taken some time to write some of these riffs. Still dangerously close to their “2 variations” formula but it has that “hook” that I love. “Bloodlands” is a slower number and another good one on here. “Puncture Wound Massacre” is another “2fer” and is almost completely useless. “Relentless Beating” has a really cool intro but turns into complete shit after the intro.
The sound could be a lot better on this album. The bass for one thing, it should be way louder. The thing I enjoy most about Cannibal Corpse is Alex Webster. This guy is amazing and well…if I can’t hear great songwriting anymore, I’d like to at least hear him play. It is there in the mix but not nearly loud enough. The guitars sound good but could be way heavier. The drums sound pretty good. Everything is loud and really crisp. George’s vocals are awesome. They are guttural and his screams sound painful.
Overall, this album is pretty bad. Cannibal Corpse simply ran out of ideas for this album and what you have hear is 2 riffs and a lot of blast beats. Kind of a shame coming from the same band that released “Tomb of the Mutilated”
Best tracks – “Disfigured”, “Bloodlands”, and honestly, I can’t think of another one.
After parting ways with Chris Barnes, Cannibal Corpse sought out and found a more than capable replacement in George 'Corpsegrinder' Fisher, who had previously fronted Monstrosity for their first two albums, not to mention his own, self-titled project. The immediate difference between the two styles is that Barnes operated on a 'growl cop, snarl cop' routine, where he would generally offer his blunt dictation and then switch up to a different 'character', the snarling and bestial sort of vocal that sounded quite silly emanating from his particular throat. You could say it was the Carcass method. Fisher, on the other hand, travels between the two styles in a single breath, with a voice slightly higher pitched, and less gruff than Barnes, but a wilder energy that sounds superior when paired against the lyrics.
I realize it might seem silly to compare death metal grunters, but you have to know these things in my line of...hobby. At any rate, I immediately took to Fisher's style moreso than I had ever had for Barnes, though the former frontman had his moments (certainly he was great on The Bleeding). Unfortunately, while Fisher's performance was more than adequate for his debut with these brutes, the music here feels a little mired and mixed. It's a solid offering, and a great setup for their following work (the excellent Gallery of Suicide and the flawless Bloodthirst). I'd even go so far as to say that this was the same raw creative matter, later given flesh, and though I enjoy only a few songs in retrospect, it does form a natural bridge between where the band was at 2 years prior and the glorious, gorebound future that lay before them. Gorebound. Is that a band? I guess it's only a matter of time now.
Another important detail when looking back on Vile is that it was the first death metal album to ever debut on the Billboard charts. Of course, this is more a testament to the fact that band's sell albums on name alone, since Vile is nowhere near the most deserving of Corpse's albums to achieve such a level of success, and even with all the promotional power of their touring, cover art & lyrical controversy, it was still pretty low in the ranks, sad proof that death metal (and real metal in general) were truly niche in an era dominated by confused shoegazing grunge rock and piss poor radio friendly pop punk.
It's a little complicated to figure out why exactly I did not explode over this album, as it carries forward the technical prowess of The Bleeding with a better vocalist to match the band's progression, but I must chalk it up to a simple lack of connection between most of the frenetic riffs and the synapses in my brain bred to accept its brutal impulses. "Devoured by Vermin" is a frenzy of guitar work which pummels by at the speed of a cadre of the titular rodents fleeing a sinking vessel, thus transforming into a low down dirty mosh fest and some intense, if brief, solos. "Mummified in Barbed Wire" benefits from not only a killer title, but some frantic choppy rhythms which sound like a ginsu chef hacking away at his meats and fish while simultaneously sniffing coke and popping tabs. Still, the breakdowns within this song do little for me, simply passing from one flurry of barbarous axe acrobatics to the next. "Perverse Suffering" is simply dull, though it explodes through a churning vortex of aggravated assault, none of the riffs really stick. Not so for "Disfigured", which has a great tech-death-thrash rhythm highly reminiscent of the first Pestilence record Malleus Maleficarum, and in the end stands as one of the better songs here.
'A straight razor will reshape my face
First my ears then my nose
Blood is gushing continue to carve
Erase the face I hate'
"Bloodlands" smashes forward like a bloated, undead killing machine, by which I mean it's slow and extremely groovy, deconstructing the band's faster rhythmic action to a crawl, with some interesting results. "Puncture Wound Massacre" and "Relentless Beating" both scream past with some meat-headed thrashing riffs that should please an advocate for shear speed, but neither really sticks past the first listen, with the possible exception of the intense guitar bridgework in "Beating". I did rather enjoy "Absolute Hatred" with its concrete and clinical riffing, melodic misanthropy morphing into a start/stop onslaught in the center of the song before the wild leads erupt over a great, thrashing foundation.
"Eaten from Inside" is another of the album's pleasures, gunning for an early lead which transforms from alien mystique to shrill noodling, prior to the verse rhythm pulling a grooving low end trill that would make Bleeding fans proud. The middle of the track does border on dull, but it comes around to another great lead/rhythm before 2:30. "Orgasm Through Torture" opens with an interesting melodic pattern that continues on through the verse, but gradually bludgeons itself into mediocrity. Vile's grand finale, "Monolith", adds no insult to injury, but it too suffers from a mix of brilliant, frenetic riffing and less inspired filler.
Considering how close this album is in tone to its successors, it strikes me that even now I can not listen back and develop a serious appreciation. There are 3-4 great modern Cannibal Corpse tunes here that would make an extended playlist rotation on my iPod, and the rest I'd simply consign to an eternity of sparse visitation, like that creepy aunt your family shackled upstate in that mental health facility. You might break this record out for a rare spin, like visiting her on holiday with a fruit basket that her orderlies will probably steal and devour, but you will never want her back in your life full-time. And I feel that way about much of this 5th fateful album. But at least it brought them some limited financial success, and forged the path for Gallery of Suicide, which truly ups the ante for this long lauded band.
I suppose the most profound thing I can say about this album that isn't obvious is that I guess this is one of Cannibal Corpse's more outwardly technical albums; yeah, releases like 'Kill' have a lot of complex riffing, but not much of it is quite as spastic and in-your-face as this album. Coming off of the groove-oriented (to a fault) 'The Bleeding', this might be a little jarring when facing the albums back-to-back; I guess in an effort to distance themselves from Six Feet Under they decided to do the exact opposite and use new vocalist Corpsegrinder to that effect by putting him in a very rhythmically-minded position as far as vocal patterns go.
This is not the best Fisher-era album by a long shot; the songs tend to meander just about every way except interesting and memorable ones and while there are tons of riffs none of them really stick to your mind. The rather sporadic inclusion of tracks from this release in live sets from the band says a lot; apart from 'Devoured By Vermin' and maybe 'Puncture Wound Massacre' you don't see a lot of this release heralded as classic by even Cannibal Corpse die-hards, and even those two tracks seem to sort of win by default since they're the most focused. The pretty dry production doesn't help things either though I figure that's par for Cannibal Corpse until their later era; it just magnifies the stillness of the songs and doesn't really give anything the proper punch. Too many mids I think.
The album is absolutely listenable but it's hard for me to come up with a reason why I'd really want to listen to it; technical Cannibal Corpse is better executed later on in their career and the songwriting itself leaves a lot to be desired. There's not even a lot of throwaway memorable riffs; I guess 'Bloodlands' is the best song overall since it's a little more atmospheric and interesting than the others but of course that's like winning a least-fat Lifetime viewer contest. These tracks just lack something essential to Cannibal Corpse; they're kind of spiritless and grey which is the exact last thing you want from a death metal album.
I guess the cover art is more ridiculous than usual, with the penis and all. Maybe that counts for something.
Sigh, apparently Cannibal Corpse is absolutely nothing without Chris Barnes... Because this is unarguably the most terrible Cannibal Corpse album ever produced. After Chris Barnes, the grandfather of brutal music, left the band, you could expect their next move with a new vocalist to be something actually interesting. Well, if you did, you were wrong. Chris Barnes was apparently the only creative man in the band and after he left these guys wouldn't be able to write a decent song even if their lives depended on it.
Now for the review:
"Devoured By Vermin" was actually the first song I heard from Cannibal Corpse. I thought it was a fucking good song, so I started doing more research for this band. When I later realized that they've had another singer before, I ended up with the conclusion that their earlier stuff with Chris Barnes was better, although I still liked both singers. And while I still liked the song "Devoured By Vermin", I decided to buy the album Vile. Well, I shouldn't have!
The song itself isn't musically that great at all. Drumming isn't anything special, the vocals sound pretty shit and the guitar riffs are a complete fucking JOKE. Seriously whenever I listen to this song I feel these guys in the band would just go with an attitude like "ok guys now we can't waste very much time on this song so when George does his long-ass scream, you all just play something fast and random, whatever the hell you can make up on the spot and hopefully no one will ever pay any attention to any of that shit going under George's awesome scream, right?". But regardless of all these flaws, I still liked the song "Devoured By Vermin". I actually thought it all fit in the song well.
So now we'll get the question: how come Vile is so bad then, even if "Devoured By Vermin" is a nice song? Well, it's simply because THE ENTIRE FUCKING ALBUM SOUNDS LIKE THAT. Exactly, 37 fucking minutes of the same slow, sloppy and uncreative drumming, the same shitty thoughtless guitar riffing and the same god awful gurgle vocals. This whole album is just plain terrible and it's really hard to believe that the same band that released the fucking "Tomb Of The Mutilated" has now gone as low as this.
Now let's put up some details about this album:
"Devoured by Vermin" starts with a 4-hit drum intro, then goes with blast beat (pretty slow one for death metal), weird guitar riffing and a long scream from Corpsegrinder. The vocals sound pretty awful compared to any other album with George Fisher. When he growls "normally", his voice cracks often to mid-high screaming, which gets quickly irritating as hell. Seriously, they make me want to fill my ears with gauze just so I wouldn't have to hear that god annoying crappy "growling". The high screams sound tolerable, and he can hold them for pretty long periods too, for example the starting scream in "Devoured By Vermin" holds for almost 10 seconds. But his growling on Vile is plain annoying and it sounds like he is trying to get choked in cum.
Move on, the guitar riffing lacks creativity a lot, and in fact sounds like what modern deathcore bands could create, seriously. These are for sure the shittiest Cannibal Corpse riffs ever. "Orgasm Through Torture" is an extreme example of this. The main riff has absolutely no sense behind it, and it sounds like utter shit. It only swaps from squeaky tit-carving pinch harmonic rape to another. All you can hear is completely random and nonsense wankery riffs with no actual melody, thought or proper technique in it. And the solos in this album? Terrible, just terrible. I remember hearing one great solo in The Bleeding album but this is just all full of scaleless and noisy shredding with horrible whammy bar abuse. The first half of the solo in Eaten From Inside is half decent but too bad the second half of it (as well as the rest of the song) just blow. I mean, what the fuck is this? Jack Owen played in this album, he can do much better!
The bass? Just following the shittyness of guitars, apart from a couple short bass solos you can find in this record. However, as talented as Alex Webster is, even he couldn't help the situation.
As for the drums, they suck too. Paul's blast beats are always slower than death metal usually, but in this album he's even worse. Like the guitar riffing, Paul also managed to lack creativity at his drumming. There isn't any actually interesting drum beats in this album, but he mainly repeats the same shit over and over again. Same blast beats, same fills, nothing creative. Just dull attempting at sounding "br00tal". And he's using the double bass way too little. In some songs, like "Disfigured" he's like the fucking AC/DC drummer. I'll give him props for decent drum work in the song "Mummified In Barbed Wire", but that's it. The drum work of this album in general is extremely shitty, even from such a lousy drummer as Paul.
To end this review, I'll say that this whole album sucks the fat one, and only the most die-hard Corpsegrinder fanboys should go even 4 feet closer to this album.
The best track of the CD would have to be Relentless Beating. Yup, that's right. There is no vocals, no solos, there's couple actually nice riffs in the middle and the whole thing only lasts for about 2 minutes. Therefore it is definitely the best song on Vile... though that really doesn't say much (hence the score). Then there's also Devoured By Vermin, Mummified In Barbed Wire and Puncture Wound Massacre that used to be my favorites in this album back in the day I still actually liked this CD. These 3 tracks are completely worthless to me but in Cannibal Corpse's standards they'd probably be good, incase that would make any CC fans happy.
For any true death metal fan this album is nothing but a 37 minutes long I.Q decreasing sleeping pill. A kind of suicide.
When former singer Chris Barnes left Cannibal Corpse in 1995, their fans started worrying about their future as a band. Would they find a matching replacement? A worthy new member?
Well, I don’t want to hold this back – to me, Chris Barnes has always been the worst factor of Cannibal Corpse’s older days. His sub-standard growl (burp?), laughable shrieks and overall lack of talent have always hurt the creativity of the band.
To cut a long story short – he was holding them back.
The first CC material I heard was pre-Vile era stuff and due to the aforementioned problems I had with Barnes, I wasn’t able to fully enjoy the material. But not only Barnes caused the lack of enjoyment; the skills of Owen, Barrett and Mazurkiewicz were all severely underused.
Then one night, I decided to listen to the people who recommended latter day Cannibal Corpse to me; I checked out “Vile”.
When the first track started, I got my face bashed in by pummelling drums, razor-sharp, catchy semi-technical riffage and gut-wrenching, intense screams by their new vocalist, ex-Monstrosity beast George “Corpsegrinder” Fisher.
I was delighted by the sudden change in Cannibal Corpse’s sound and found myself enjoying the new material far more than their older stuff. Tracks like “Devoured by Vermin”, “Perverse Suffering” and “Monolith” are the best examples for their change of sound; remember the plodding, simple pseudo-groove riffs of “The Bleeding” and “Butchered at Birth”, the simple structures and semi-thrashy tendencies of (the admittedly passable) “Eaten Back to Life”? About none of that can be found here.
This album is madness; “Vile” takes a large dose of technical guitar work (reminiscent of Monstrosity’s “Millennium” album, even though less overt), but does not sacrifice any catchiness.
George Fisher’s vocal range was not as impressive as on later works yet, but he simply nullified these shortcomings with conviction and youthful power. He varies between excellent guttural growls and sharp high-pitched shrieks that offer enough variation for the whole album.
Alex Webster’s bass playing was one of the few things that have always been excellent. Still, there was room for improvement and he that’s what he did – improve. The bass is greatly audible, technically challenging and simply a threat to hear. Webster is an excellent bass player and did his reputation justice on “Vile”.
Mazurkiewicz’s drumming didn’t have much room for development in pre-Vile days; the songs were often too simple or too much of a mess songwriting-wise. But due to CC’s new sound, Paul managed to let his creative juices flow as well. Blastbeats, excellent doublebass work and some damn great fills are scattered throughout the album providing a strong base for the overwhelming sound on the album.
On its own, “Vile” is an amazing death metal album but if you look at it as a new Cannibal Corpse album, it can be seen as the first milestone for a new era in the history of this band.
So if you think you can handle the departure of the brain dead monkey that is Chris Barnes, give this album a shot. It’s an excellent display of musical talent, songwriting skills and stands firmly beside the masterpieces of mid-90s American death metal.
This was my first Cannibal Corpse album, though I had already purchased SFU's "Maximum Violence," so I was thoroughly enmeshed in the Barnes/Fisher debate already. The conclusion I come to now is that there is not a huge difference between the two, I mean, Jim Carrey could front Cannibal Corpse and it wouldn't matter. Oh wait, he did.
All that garbage aside, this album is fun to listen to. It is not exceptionally great, and there certainly are some skipworthy filler tracks, but hey, what would a Corpse album be without 'em? The guitars are fast as hell, the bass chugs along, the drums pummel the abovementioned instruments into the back of the mix, and Georgie rasps and growls along through the generally gore-obsessed lyrics.
I prefer Fisher's vocal stylings on "Gallery," where he seems to pick up some sort of rhythm, but they get the job done here. And it is nice to hear the band slow down a bit from time to time, like on my personal favorite 'Bloodlands," which has a plodding, atmospheric feel that fits well with the lyrics of being stranded in a mysterious desert. And it is quite entertaining to read along as the protagonist is sucked into a river of cadavers, and the music speeds up to accompany his drowning. Family fun if I've ever heard it.
Personal favorites are "Devoured by Vermin," a great way to open the album with blistering speed, "Disfigured,' which a strange melodic sense and good self - torture lyrics, the aforementioned "Bloodlands," the appropriate and excellent instrumental "Relentless Beating" (throw this one on, put on repeat, head to your local corporate chain store, do what comes naturally), and "Orgasm Through Torture," valuable if only for showing the lyrics to your friends, parents, local clergy, etc.
I could do without the racist leanings of "Absolute Hatred," and like I said, there is some filler, but check out the nasty cover art, crank up "Bloodlands," and enjoy this standard Cannibal Corpse release.
This album is excellent if you just listen to the first four tracks, skip the next three, and then listen to the last four. Some adrenaline-pumping, complex sounding riffs here, especially in the last track, Monolith. The first four tracks show alot of diversity in speed, and level of complexity, indicating that the band has progressed since The Bleeding. Track 5, Bloodlands becomes a bit lacklustre, and really brings the momentum of the album down for me, and then you have track 6, which is a mickey mouse song under 2 minutes long and just plain corny, and then quite a good, unique instrumental for track 7, ending the lull for the middle three tracks. The listener's ears are then pummelled by the opening riff on track 8, Absolute Hatred, where the tune itself sounds like contempt and loathing. Each of these last four songs is classic in its own way, and the production is just right for the genre of music, except possibly regarding the vocals, where it just didn't sound as if Corpsegrinder had quite got it right. He didn't really sound guttural or hoarse enough, as he does on the following two albums, Gallery of Suicide and Bloodthirst. If you appreciate creative, unique, pounding death metal, you need to check out this album.
Vile was the first album without Chris Barnes. It shows that Cannibal Corpse can go on without Chris Barnes. I'm sure a lot of diehard fans of Cannibal Corpse were skeptical about this album. I didn't know much about Cannibal Corpse when I first listened to this. I didn't really give it that much thought when I first listened to this.
George Fisher does an awesome job at vocals. When I first listened to this album, I thought it was Chris Barnes at first. Then I found out it was a guy named George Fisher. George Fisher gives his best vocal performance on Vile. His vocals are really great on Devoured By Vermin, Puncture Wound Massacre, and Monolith.
The sick lyrics on here are just great. The sickest lyrics on Vile are Orgasm Through Torture, and Devoured by Vermin. The lyrics aren't as sick as the other ones on previous albums, but I really like them.
I really like the drums on this. Paul Mazurkiewicz does some really great drumming Devoured By Vermin, Disfigured, and Eaten From Inside. He does an awesome job on every Cannibal Corpse album. Some of his best drumming is found on Vile, in my opinion.
I'm very impressed by the guitar work on this. I really like the guitar solo on Puncture Wound Massacre. I find that solo to be really amazing. The soloing on Eaten From Inside is nice as well. All of the other guitar work is nice, fast, and brutal.
Vile was probably the first death metal album I ever listened to. I wasn't really into it at first. But once I listened to more of it, I thought it was really great.
This musically talented but creatively flaccid record goes nowhere. "The Bleeding" showed a band that was trying to mix the US death-metal chaos into something that not only pummeled you, but something you would remember after you listen to it. Simply put, Vile blasts, beats and gores through the violent motions but in the end the record goes nowhere. Corpsegrinder isn't any better than Barnes as his growl/scream are typical. Maybe he has more diversity or a better range but I can't tell him apart from hundreds of vocalists. Barnes you at least notice. This CD is poorly composed, the vocal melodies go nowhere and it's just brutality for brutality's sake. I love speedy fills and playing as much as anyone, but it has to all build to a point. This CD couldn't be more pointless. This is well played and produced, but compared to anything going on in Europe at the time it's strictly second tier.
After spending years listening to this band, I was naturally apprehensive about Cannibal Corpse continuing with a new vocalist. When I hit the play button I was immediately smashed into a state of shocked ecstasy with the opening of 'Devoured by Vermin'. Four tom hits, a ferocious scream and the gorefest was in full swing. The band had never sounded tighter, leaner, or meaner previous to this release. The guitars had a new razor sharp sound to compliment Fisher's razor sharp vocal sound. Each track on this album keeps you listening, some of the high points being the brooding 'Monolith' or the very picturesque 'Bloodlands'. Even the instrumental Relentless Beating is way cool, actually making the listener feel like they are being beaten relentlessly, as the riffs spiral upward into a frenzy. Too bad future CC releases can't be as on the mark as this one. Why did I give it a 100 with so many other releases out there more complex or melodic? Because this one came first, and there is not a damn moment I don't love on it.