Register Forgot login?

© 2002-2018
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Hardcore/thrash Retaliation - 88%

CHRISTI_NS_ANITY8, September 30th, 2008

I loved the first album by this band because it is still nowadays one of the best examples of how different genres like doom/thrash/speed and hardcore could be mixed to create a devastating wall of heavy music. The sincerity of their debut and its purity are unmatchable but also this follow up, Retaliation, worth more than a mention for its furious burden of anger and despise towards everything, from religion to society. Anyway, I must say that this album seems more planned and less spontaneous that the debut. The production, anyway, this time is far better and the band has acquired a remarkable burden of technique and this time is more precise.

“Jack Daniels and Pizza” is an intro made of sounds of a person puking in a bathroom and the following “Angry Neurotic Catholics” shows the first fast paced parts. The up tempo parts are furious and full of hardcore influences in the guitars, being mostly on open chords riffage. The vocals by Pete are always angry and truly violent with his particular and easily recognizable tonality. The production exalts a lot the rhythmic session and the pounding, distorted and echoing bass. The following “S.M.D.” is even faster and this time the thrash metal is more present while we reach the first mid-paced track with “Race Wars”. Here the band comes back to the debut with doom tempo and melodic arpeggios with the cleaner vocals by Pete.

“Inner Conflict” is again faster and gives a lot of power to the bass sound. The bass drum triplet and the up tempo on the snare are blowing. The sudden, strange and obscure doom passages are very good and really unexpected. The riffs are always quite catchy even being truly pounding and violent, taking inspiration from punk and hardcore. The refrain of these songs are well stuck in the structures. Pete is truly vicious, especially at the mid-paced parts where his vocals are suffered and powerful at the same time. Some more melodic breaks are welcomed to give fresh air to the sound but for example “Male Supremacy” still seems from another planet.

“Jesus Hitler” is hilarious. The intro is made of a speech by Hitler with choirs on the background to virtually bind together these two individuals. Musically, this song alternates fast parts to doom ones in pure Carnivore style but the catchiness is always present and the structures are dynamic. “Technophobia” somehow always reminded me Sodom for the way they play during the fast parts with more thrash metal parts and solos. “USA for USA” is unbelievably brutal in its relentless march under hardcore riffs and screamed vocals, while “Five Billion Dead” is mostly doom with more melodic and dramatic guitars patterns to prepare for the true highlight here, the final “Sex and Violence”. The refrain is mythical and the power is incredible.

The good blend of hardcore/thrash fast parts with the doom and more melodic ones is perfect to lead us towards the end of another good album by this band. To me, the first album will remain forever the best but if you love Carnivore, you can’t go wrong with this, don’t worry.

Lets start busting heads! - 79%

CannibalCorpse, March 17th, 2007

I've been hearing good things about Peter Steele's pre-Type O' Negative band Carnivore for quite a while now, but only recently I decided to give it a spin. There surely is no guarantee that ToN fans will enjoy this album, because this is balls-out punky thrash. I can only think of two moments on this album that might be a bit similar to early ToN works (the slow parts in "Ground Zero Brooklyn" and parts of "Five Billion Dead").

The controversial themes are fun as hell and amazingly well written:

"Jesus I beg of thee, don't take my life, return me to the womb
from which I was torn. Birth is a sin and the punishment is death.
I wish you had left me unborn, I shit my pants as I wait for the reaper!"

That's just one good example of the hilarity this album ensues.

The guitar riffs are catchy as hell and resemble Nuclear Assault (Game Over - Handle With Care) quite a bit, but the punk edge is probably even more prevalent.
The drumming is sloppy and punkish too, which fits very well into the overall sound of the album. Steele's vocals are nowhere near close to his ToN delivery - he never uses his bass tone, mostly he stays in his midrange but churns out aggressive and vile screams, which fit, again, very well into the overall sound.

Songs like "Jesus Hitler" and "Race War" tend to cross national socialist parody with anti-religious themes and might be hard to swallow for die-hard "fans" of organized religion. I think they are fun as hell and make the songs even more interesting as they already are.

As of 2006, Carnivore seem to have reunited and maybe I'll be able to hear this stuff live on day. It surely would be one hell of a concert.

I recommend this album to all fans of crossover/thrash. I'm usually not too much into crossover, but I'm sure that this one will be spinning in my player on a regular basis for a while.

Vegetarians beware! - 90%

Vim_Fuego, August 8th, 2004

The door crashes open, there are running footsteps, sounds of heaving and coughing, the contents of a stomach splatter into a toilet bowl. After a bit more coughing, puking and spitting, the toilet is flushed. This is the greatest introduction to an album this side of Slayer's "Hell Awaits".

Then the music kicks in. Not just a light tap with the foot, but an almighty great steel capped heave to the groin, off a 10–yard run up! Who knows what Carnivore were railing against on "Retaliation", but it's sure to have been mortally wounded. In the year or so that passed between the self–titled debut and the second album, Pete Steele and co. sent their sound to the gym. The faster parts are faster, heavier parts are heavier, it's vocally more brutal, and lyrically more focused.

The band really stepped on the accelerator in all departments right from the opening track of the album, the wonderfully titled "Angry Neurotic Catholics", which sees Pete fighting with inner demons, contemplating suicide to escape sin–induced guilt. This is thrash the way it should be played– heavy, unstoppable, uncompromising, with proto–blast beats, shouty choruses, intense riffing, all with just a hint of melody to hook the listener. These are just downright catchy headbanging tunes. Pete had been pondering religion, the reasons behind world conflicts, and examining the human psyche, which he expressed in his own blunt politically incorrect way. The vocals are delivered with more venom than on the previous album. Steele had developed a more hardcore vocal delivery, and included spoken word rants in several tracks.

There was something spookily prophetic about this album too. Two tracks in particular, "Ground Zero Brooklyn" and "USA for USA" both have taken on a new significance since the events of September 11th. "All the bullshit countries who think they'll beat the giant, World peace in upheaval, We'll nuke 'em to the Stone Age, send the message clear, Ya don't fuck with the eagle!" Sound familiar?

This is music with balls. Great big hairy tattooed leather–clad ones.

Thrashcore To The Max! - 98%

corviderrant, June 24th, 2004

This was the album where Peter Steele & Co. ditched the silly Road Warrior image and started really LAYING THE SMACK DOWN. After a silly and pointless puking intro that gets points deleted and me skipping it, the onslaught starts hard with "Angry Neurotic Catholics", a feral thrash blaster that will have the Gothlings who worship at Peter's huge boots aghast at the intense aggression and anger on display here. "S.M.D." continues in that vein with insanely vicious lyrics directed at any and all who would call him a freak for his image, lifestyle, music--in fact, this entire album has some of the most ugly, misanthropic lyrics I've ever read. Knowing Peter, he wrote them to get a rise out of folks, which he most certainly did. But back in those days, he wasn't as refined a lyricist as he is with Type O Negative, and as a result the lyrics come off as much simpler and even more direct than anything he's ever written with Type O.

"Ground Zero Brooklyn" has a very catchy chorus, and "Race War" is just...yeesh! Truly angry and racist lyrics that really capture the mentality of the average white supremacist in a nutshell: "Don't call me your brother, cuz I ain't your fuckin' brother/We fell from different cunt/And your skin, your skin's an ungly color!" The lurching, doomy riffs on the verses ram these hateful lyrics home with brute force, and the chorus actually drifts into a more dreamy and sad feel. Ironic, considering the lyrical subject, but it also makes one wonder how racist he actually is, as the feeling on the chorus as he sings "Race war, we're going to a race war/Hate war, we're going to a hate war" makes him seem sad and reluctant to actually go through with the war in question. "Jesus Hitler" has some amusing lyrics as well as a solid alternation of thrashing and slower riffs, and their cover of "Manic Depression" is actually pretty decent, although delivered in a considerably more nettled and irreverent manner than Mr. Hendrix probably imagined it.

The musicianship is strong throughout the album, with Marc Piovanetti cranking out some blistering leads to flavor the riffs and Louie Beateaux raging behind the kit like a madman. Peter's bass tone is the same as it is on the Type O albums; a wall of chorused fuzz that doesn't require a second guitarist at all to hold up the low end during solos, and his vocals are mostly delivered in an angry ranting/screaming style that suits the music perfectly, far from the smooth Goth-influenced bass vocals that the future would see coming from him. This is essential, and if you know not to take the lyrics all that seriously, you will indeed dig this album. Crossover at its heaviest was this band, and I'm glad Peter has gotten all that rage and bile out of his system, because who knows what he'd be like these days if he hadn't!