If you’re searching for raw yet complex Florida-style death metal, these guys were born for the job. They made their explosive comeback with the legendary Evisceration Plague. And what a devastating return it was. Corpsegrinder, dominating his instrument with brutal authority, alongside the rest of the destruction crew, have crafted an album that fits them perfectly from top to bottom—reclaiming hearts and planning to turn the scene into a bloodbath once again. Entrusting production once more to Eric Rutan, the band hits the highway like a wrecking machine, adding even more speed without losing any of the power from their previous works.
Released by Mana Recording, the album consists of 12 stormy tracks. The lineup features Corpsegrinder (vocals), Alex Webster (bass), Pat O’Brien (guitar), Rob Barrett (guitar), and Paul Mazurkiewicz (drums). Bass legend Alex Webster sums it up by saying this is their heaviest and craziest album yet. Highlighting that they used their best guitar tones to date, Webster warns those about to listen that every song was played more meticulously and powerfully than ever before.
For the album artwork, they once again worked with the admired Vincent Locke. Locke created two different covers and interior designs that stay true to the classic Cannibal Corpse style while delivering something fresh and very appealing. This album—sure to infect your veins like a plague—features the following tracklist:
Priests of Sodom
Scalding Hail
To Decompose
A Cauldron of Hate
Beheading and Burning
Evidence in the Furnace
Carnivorous Swarm
Evisceration Plague
Shatter Their Bones
Carrion Sculpted Entity
Unnatural
Skewered From Ear to Eye
Talking about the album, it really makes you wonder what these guys eat for breakfast—because it seems like before every recording session, they gorge on heavy doses of aphrodisiacs and then make love to the studio. The album kicks off so fast and furious that before you even realize what’s happening, you find yourself caught in a tornado. Pat O’Brien, one of my favorite guitarists with his spider-like fingers, shines throughout, and Paul Mazurkiewicz—whose style I previously wasn’t a fan of—delivers exceptional performances here. His drumming attacks in some tracks are so intense you might find yourself doing twin pedal exercises right on the floor.
Contrary to many critics, I see Cannibal Corpse with George Fisher as a band taking much stronger steps than in the Chris Barnes era. While I admit the band couldn’t have solidified without Chris Barnes, if someone else had replaced Fisher, I doubt they would have achieved this signature look and sound. The album’s tempo spreads evenly across all songs, but the track that grabbed my attention most was “A Cauldron of Hate.” Fisher truly outdoes himself here, bringing a fresh breath of brutality. In some parts, he sings so fast the speed of words competes with the notes.
With over 20 years of history, the band delivers one of their best works here. Perhaps the only downside is the lack of a standout track to lead the album—each song hits with the same crushing speed and power, but there’s no clear flag-bearer. Or maybe the album is just so packed you can’t pick one out. The title track “Evisceration Plague” is the slowest on the album, with a heavy dinosaur-like stomp—but don’t be fooled, this song would never sound like that on any other album.
The album’s lyrical themes, as always, are packed with sadistic, perverse subjects drenched in gore elements. If you want death metal with more than enough brutality, this album is guaranteed to deliver. I highly recommend listening to it as soon as possible—and keeping it stored far away from the kids.