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Well since this band is from Sweden, they're quite a bit like Dismember. But there's more of a reverb/echo sound to the album, especially the vocals. I'd say that the album is best heard like any other album which is with headphones. You don't get keyed into an album as much if you're just listening to it on your stereo. Nothing much new that any other death metal band has put together really with this band, but they do show some promise. What they should've done though is cut out the lead guitars totally because they just are mediocre. It kills me when a promising band puts together good rhythms then the leads are below par.
Some things that were out of the ordinary band was that they included some clean tone guitar work. But the music in itself ranged from extremely brutal and heavy with vocals that were simply aggressive and riffs really fast. But tempo changes were all over the place. I suppose that's good in a way so that you don't get sick of listening to something that's totally slow the whole way through the album or an album that's filled with blast beating galore. One exception I must say about the constant blast beat that was released some years ago was Krisiun's "Conquerors of Armageddon". But with Corrosive Carcass, there are some fast tempos for a lot of the album.
The guitar riffs are really hard to make too much out on my stereo that's why I chose to listen to it on my laptop just to be able to hear everything going on. Now the music is decent and there's a lot of pinch harmonics in there riffs and slow chord based guitar along with the faster tremolo picking riffs. I did think that it's a promising release even though they totally sound like Dismember. But it's to be expected like I said since they're from Sweden. What stood out the most here were the guitars. I think that the riffs were really put together well and there's variety to the music.
Some bands can really hack it when it comes to rhythms and leads, but Corrosive Carcass does not hack it as I've said with the leads. Otherwise I would've given them a higher rating on this review. But let's dissect a little more and talk about the music. The intro riff is pretty fast and the sound of the guitars are super distorted. They are a band though that doesn't seem to incorporate too much technology in their recording. The riffs take a while to get into. They're not that catchy really, but the vocals and guitar go well along with one another. The guitars, drums, vocals and production were all good in achieving like I said that reverb sound.
That was their focus though, put something out there that does make their sound a little more intriguing and less Dismember-like. Even though they do sound like them, they incorporated some things that Dismember really hasn't done too much which is a clean tone guitar. I could be wrong about that though since I only own one Dismember release. I think that they are trying to establish themselves as death metal musicians and were doing something different with the music which was adding reverb/echo to the recording and include guitars that were filled with just so much distortion.
Corrosive Carcass is a death metal band that has enormous potential to write even better music in the future. But for now, "Composition of Flesh" was better than just mediocrity. They truly have a sound heard like no other besides Dismember which is what I've said repeatably with this review. They did need to take out the leads and just focus on rhythms until the leads get better played out. Who knows when that will be?! But at least they're trying to get more known within their genre of death metal. A lot of old school death metal fans I'm sure would appreciate this release since I know that many people that I know already dig this band. Don't miss out on it!
One look at the biog info and the first question I ask myself is why has it taken so long for this band to get out a full length after forming in 2004, and releasing one demo in 2010. Be that as it may, the wait has been worth it as Sweden’s Corrosive Carcass churn out visceral death metal that isn’t quite your usual take on the Swedeath sub-genre, instead opting for a grittier in your face guitar sound that could sever arteries. Typically the band has a no frills approach to their songs, with guttural stomach churning vocals, a rhythm section that could upend a battle ship and riffs that will scare you shitless. The bass lines sound very grind like to these weathered ears which is a good thing and is one of a few things that make Corrosive Carcass a bit different to your usual filthy Swedish death metal.
The tunes are fairly short overall, as they should be, and burst into life with “The Flesh Is Not Enough”, a grinding fuzz ball barbed wire tune, that wraps around your face and tightens into a life asphyxiating knot. The opening riff on “Self Mutilation” is caustic, saturating the listener in bubbling acidic wrath, as my first point of difference is the guitar sound which reminds me of the debut Bloodfeast album (“Kill For Pleasure”), the tone is incredibly sharp but with clarity in delivery that will slice your ears off then tear at your ear drums. A dark, oppressive riff begins as, like I said previously, the bass sounds very grind like, not fast, just the way it is played, as though the strings are covered in bitumen. The increasing cymbal smash is also very grind like and catapults the song into inhuman bedlam. There is a lingering festering quality about this song that cloys at you with tendrils laced with toxin. “Necrotizing Fasciitis” has more grind qualities though without the blasting, preferring to slaughter the unexpected with mountainous double kick and snare flailing. My second point of difference is the way the band switches the riffs and flow of the songs almost tangentially with very little notice, a facet that is acutely brave but works incredibly well.
More doom like sonic barbarity appears on “Awesome Nuclear Power”, with a rumbling bass preceding a monumental chainsaw riff, which reads as how to play chainsaw for dummies. The riff really is cracking and resonates deeply within the memory. There is no subtlety on “Twist Of A Knife” or “Chainsaw Dissection” the disembowelling speed is brutalising efficient and reminds me of Cardiac Arrest’s death metal anarchy. Third and final point of difference is the introduction of doom like passages to get the songs either underway or to interrupt them, the effect creates a ghastly nightmarish assault on “Collector”, with its Sabbath like bass and a guitar hook that is grisly but catchy. The short but sporadically violent “Dawning Death” is evil, like an axe wielding maniac hiding in the closet, ready to attack at the right moment, which it does with devastating precision.
The album ends with an epic, night terror of a song that clocks in at nearly eight minutes. Expectations of sprawling doom death aren’t too far off the mark, when it starts with a surprisingly catchy riff and melody, a term I use loosely obviously here. The tune plods along nicely grasping at unsuspecting listeners with those tendrils again, but this time covered with viscous claws that impale the listener into submission. The pace steadily increases as it gathers momentum, ready for the lead solo, as this tune has signs of Norway’s Fester from the early 90s. The song ends with a soft haunting guitar piece as though you’ve just woke up from that night terror, sweating, gasping for air with your bone dry mouth craving sustenance only for you to choke on bitter froth.
Originally written for www.rawnervezine.co.uk
After facing numerous lineup changes over the course of their history, Swedish death metal band Corrosive Carcass finally releases their debut full length album, Composition of Flesh, 8 long years after their formation all the way back in 2004. The fear of yet another Entomed or Nihilist clone once again left me hesitant in listening to the album, yet fortunately there are surprises that Corrosive Carcass has put into Composition of Flesh that manage to make it stand out somewhat from the rest of their peers.
Being Swedish, by nature the gnarly guitar tone and the d-beat infused drumming styles are immediately noticeable right from the start of the album, and the influences from old school Swedish death metal bands like Entombed are immediately clear. Even the lead guitars that are present on the album also reek of these influences, such as the haunting solo on Butchershop, not particularly flamboyant but the heavy tone and the slow, melodic approach could easily fit on an Entombed track. But vocalist Jonathan takes a more savage approach in his vocal styles, often belting out the lyrics on the album in a tortured growl, going from high-pitched shrieks to low-pitched guttural growls, without any care for proper techniques whatsoever, and the main point being the aggression that is in the music.
While the music of Corrosive Carcass are fundamentally and undeniably old school Swedish death metal, the band has also included some influences from other death metal forefathers such as Death, such as on the opening moments of songs like Self Mutilation, with the somewhat thrashy feel of the riffing style, preventing the band from sounding like a complete clone of the old school Swedish death metal legends. There are even the doom-laden moments on tracks like Born in a Casket, that instantly sends an ominous feeling to the listener, and reeks heavily of death and gore, fitting to the themes that Corrosive Carcass has written on Composition of Flesh. Collector even includes an acoustic moment towards the end of the track to further up the already haunting atmosphere.
The band also takes a rather straightforward approach in their songwriting style, with most of the tracks on the album lasting less than 3 minutes, with Avatar barely meeting the 1 minute mark even, and this keeps the listener constantly on his feet, anticipating the next round of onslaught by the band. That said though, the band surprises the listener with the album closer The End of Us All, almost hitting 8 minutes, displaying that the band is more capable than just being able to write short songs.
Swedish death metal is far from being my favourite death metal subgenre, but Composition of Flesh has managed to keep me captivated throughout, with the violent and aggressive undertone that the band has taken, making it a rather enjoyable release from these Swedes.
I must state up front that I've got a little bit of a bias towards the sound of an album like Composition of Flesh, because it seems as if these Swedes sat down with me and probed my brain to discern exactly what I'm seeking in an 'old school' death metal record. Like being examined by the mental health board at the looney bin. Upon first exposure to the guitar tone, I was a little worried that we'd be getting another direct bite off Entombed, Dismember and their countrymen, a trait I and many others have likely grown some 'fatigue' over, but that turns out not to be the case. While the raw level of putrid distortion might in fact draw a degree of inspiration from Corrosive Carcass' national forebears, they clearly bastardize the aesthetic with elements of US veterans Autopsy, Obituary and (early) Death, with some archaic Finnish sounds (Demilich, etc). The result is nothing short of an all-purpose, dynamic descent into the umpteenth layer of horror.
Composition of Flesh fires on all bony cylinders, strong songwriting skills enshrouded in a tumescent state of eternal darkness. While the band is certainly sniffing along a breadcrumb trail of nostalgia, I never had any sense that they were 'limiting' themselves to any particular palette of necrosis. They incorporate blasting, grooves, and mid-paced rhythmic variation without ever dropping the ball, and they can harry the listener into rapt, fearful attention throughout the entire 41 minutes and 13 tracks of the experience. Deep, dual rhythm guitars grind like a pestle in a mortar of flesh, while the leads are eerie, atmospheric, and never indulgent to the point that they exceed their welcome. The bass feels like a depth charge riddled with beefy distortion, and the drums, while strong, are set at a level which supports the voluminous axe-work. On top of this, you've got a damned solid vocalist in J. Sjöblom whose inflection falls somewhere between a Chris Reifert and L-G Petrov in style. He barks, he growls, he sounds like a pack of hell hounds and pit fiends melted into the psyche of a mortician drunk on formaldehyde fumes.
Lyrically, the band is deceptively simplistic, but I found myself really drawn into the perspective of tracks like the serial killer hymn "Twist of a Knife" or visceral and suicidal "Self Mutilation". Nothing novel as far as the imagery being described, but they certainly evoke an ardent sense of psychosis that matches well with the riffing architecture. Speaking of which, while I can't award points here for much originality, but the Swedes function exceedingly well within the parameters they've established. A few guitar progressions, in particular some of the tremolo sequences, are admittedly generic, but in general I feel like they know how to mix up the selection and keep the listener's focus, whether on a brief burst like "Avatar" or the more extensive finale "The End of Us All", which is close to 8 minutes. There are some amazing moments of atmosphere like the moody intro to "Collector" with its numbing bass and creepy, cleaner guitars, and I would have loved if the band could have more evenly dispersed these through the track list, but otherwise its spot-fucking-on infectious. Combine with the sheen of opaque, drudging production and wallow in the album's gore soaked oblivion. It seems we've been spoiled this year with all manner of fantastic retro death metal recordings, and you can add to this the stockpile of Horrendous, Necrovation and Binah on your next sepulchral excursion.