Ara is a Journalism graduate from California State University Northridge who is always looking to explore his writing opportunities.
Introducing a Rather Underrated Death Metal Album
If the studio album Gore Obsessed in 2002 was an underrated album in this history of Cannibal Corpse, their 2009 studio album Evisceration Plague takes somewhat of an interesting approach. I see the influence of bands such as Arch Enemy in one of the songs which we will address in just a moment. For once, these guys have come up with an album title that isn’t so grotesque which is a good strategy in some respects if you want to get the attention of fans. The producer for this album is Erik Rutan, the person that would one day eventually join Cannibal Corpse. Playing guitars on this album other than Pat O’Brien is Rob Barrett who had been away from the band for several years focusing on other projects.
Evisceration Plague Is a Better Album Than How It Ranked On the Charts
You might get the sense that with Evisceration Plague, Cannibal Corpse is using more of a melodic approach while still having the fast, pounding drums and the usual harsh vocals. Evisceration Plague made its debut on the US Billboard 200 Charts at #66 which isn’t an impressive finish but sometimes, albums that don’t score as high on the musical charts are some of the ones that really standout as releases that are memorable. Evisceration Plague is just one of those albums that sees Cannibal Corpse really take a structured approach to having melodic harmonic parts in the songs, something that we probably haven’t seen to this extent since 1994.
About the Songs in Evisceration Plague
This album does not start off with a very short fast song like a few other albums did. That’s one way for a band to make their musical approach more varied which helps them stand out from among all the bands that are in the metal genre. However, the next song “Scalding Hail” returns to the structure of really short songs that can really give your eardrums a pounding. It also has some very exotic sounding melodies which make it even better. But starting off this album is the really heavy song “Priests of Sodom” which can hit your eardrums like a bulldozer. Much like the first two songs in this album, the song “To Decompose” once again sees George Fisher take his grunting vocals to a faster level. This may be the one song that sounds like something that Arch Enemy would do but in one specific section following the grunts. “A Cauldron of Hate” is one of those songs that some fans of this band may not like because it is slower as the main riff just kind of chugs along like a meat grinder. This is one of those songs that has an exotic sort of feel in terms of Cannibal Corpse standards and it sounds good enough. I think it is safe to assume that the minds of these guys in Cannibal Corpse is a cauldron of good riffs waiting to happen and they certainly made it happen with this album.
This album is more than just your standard speedy death metal. It is an example of what a veteran band has done to reinvent themselves while still not going too far away from their roots. By this point in their career, the use of exotic guitar parts by Cannibal Corpse plays a more prominent role as they have largely gone away from the riff structure of their first four albums.
Though the beginning riff of the title track is exotic enough to remind you of “The Bleeding.” This is one of the best vocal jobs by George Fisher as the lyrics are about a plague that has spread resulting in illness and death. Some fans may still miss the material written during the Chris Barnes era but I sure as heck don’t. George “Corpsegrinder” Fisher has given this band a new style of vocal brutality that fits their current style. Erik Rutan lends a hand on this album by providing the guest solo on the song “Unnatural.” The last song in this album showcases the bass guitar play of Alex Webster as the album Evisceration Plague ends in a rather good way, making it maybe the band’s best album in at least 15 years if not more.
Evisceration Plague's Greatness as an Album
© 2021 Ara Vahanian