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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