The Decibel Magazine Tour
Cannibal Corpse, Napalm Death, Immolation, Cretin
128 Northeast Russell Street
Portland, OR, 97212
Doors 6:30 PM / Show 7:00 PM
This event is all ages
Watch & Listen
The Decibel Magazine Tour
Returning with the ceaselessly hostile Torture, Cannibal Corpse prove that when it comes to combining unrestrained maliciousness, involving song writing and technical precision they still have no equal, once again fortifying their position at the forefront of death metal. The twelfth full-length of their inspiring twenty-four year career, the Floridian quintet have never sounded so vital, the album building upon the wealth of powerful, dark, and memorable songs comprising 2006's Kill and 2009's Evisceration Plague and pointedly upping the ante at every turn. While this marks the latest progression in the band's sound, Torture also witnesses a return to what drummer Paul Mazurkiewicz accurately terms "the frenzied attack of Butchered At Birth (1991) or Tomb Of The Mutilated (1992)", infusing the band's advanced musicianship with the raw savagery that haunted their earlier releases, and in the process conceiving the definitive Cannibal Corpse record.
From the moment the aptly titled "Demented Aggression" explodes to life in a storm of blistering riffs and turbulent drums it is unequivocally apparent that the band are at their ruthless best, and everything that follows backs this up vehemently. From the monstrous chugging of "Sarcophagic Frenzy" to the deeply sinister "Followed Home Then Killed" or the loping evil of "Scourge of Iron", every track hits with sledgehammer force, and each one boasts its own hideous character, the band refusing to repeat themselves at any point. "While we make everything as heavy as possible there's a very strong emphasis placed on song writing in this band, trying to make every song individual, and I think you should be able to hit play at any point on a record and be able to tell one song from another almost instantly," states bassist Alex Webster. "We want all the songs to be brutal death metal, but we also want them to be instantly identifiable from one another, and that's something that is definitely true of the songs on Torture."
Webster also believes that stability in the band's ranks greatly contributes to the record's strength, Torture being the third consecutive album featuring the current lineup of himself and co-founding member Mazurkiewicz, alongside guitarists Rob Barrett and Patrick O'Brien, and vocalist George "Corpsegrinder" Fisher. "The band is at its strongest right now, and I think we're at our very peak as far as playing ability and song writing maturity. As a result of that this is the album where we've been able to finally best get across what we wanted to do as players and as song writers." Equally, this is their third release to be helmed by producer Erik Rutan (of Hate Eternal fame), and while Kill and Evisceration Plague were recorded entirely at Rutan's MANA studio in St. Petersburg, Florida, this time out the sessions were split between MANA and Sonic Ranch, in Tornillo, Texas. Having tracked 1999's Colin Richardson-produced Bloodthirst, as well as 2002's Gore Obsessed and 2004's The Wretched Spawn (both produced by Neil Kernon) at Sonic Ranch, the band were keen to once again experience the isolation of working essentially in the middle of nowhere, this time with Rutan calling the shots.
"The studio is about forty miles outside of El Paso, and we made a point of not having a rental car so we were stuck there, that way all we could think about was the record," Webster states. "When we record in Florida usually the only guy in the studio with Erik is the one recording that day, and having us all together rather than scattered really helped us focus and totally immerse ourselves in the music, and I think that it's a far better record for it." This approach has resulted in a record that not only delivers a devastating punch but also eschews merely replicating the sound of their previous collaborations, and Mazurkiewicz asserts that their relationship with the producer is a tremendously beneficial one. "He's a death metal guitar player and a death metal singer, which makes him 'one of us'. On top of that he's a great guy, a workaholic, and a great motivator because he's not only an extremely talented peer but he's always nitpicking and doing what he's got to do to make everything better. He pushes us to make the best possible record and does what needs to be done to give it a distinctive sound of its own."
Though the band continue to dwell on dark and disturbing lyrical areas, they long ago transcended the early notoriety bestowed upon them (based solely upon their artwork and lyrics) through proving themselves one of the best – and hardest working – live bands in modern heavy music. As such, while they certainly stand defiant as part of the old guard in death metal, through their devotion to touring and consistently releasing bigger and better records they have retained both their relevance and bite while many of the bands that hacked their way out of the scene twenty years ago have fallen by the wayside. Equally, as the genre's profile has begun to once again grow in recent years the band do not concern themselves with thoughts of being dethroned by younger generations of bands following in their wake.
"We get inspired by seeing these other bands doing killer music, but we definitely don't feel threatened by it," Webster states. With a great many contemporary death metal bands perhaps overly concerned with being recognized as the 'fastest' or 'most technical', the art of the song itself seems often overlooked, and that is a trap Cannibal Corpse have never fallen into. "I am very into ultra-fast music that shows off chops, but I think that it's important to develop ability as a musician not to show off that ability but rather to use it to write killer songs. Writing a genuinely memorable, killer song is very challenging, but the best albums are the ones with the best songs, period."
In 2012, Cannibal Corpse have ensured that the twelve songs comprising Torture are the very best and therefore cohere to make the best possible album, though they are not content to rest upon their laurels and they are as hungry as ever to unleash their distinctive breed of aural horror upon heaving mosh pits. "I haven't been this excited about a release in a long time," enthuses Mazurkiewicz. "We worked so hard at it and we hope that the fans feel the same way we do. Being out there and getting to play these songs live will once again prove to people we're not going anywhere. We're not going through the motions, we're really trying to be the best band we can be, and we're just getting better."
27 years of grindcore ultra-violence, 27 years of being one of the hardest working, hardest touring bands on this miserable planet, NAPALM DEATH's conviction, energy and belief in spontaneoust, outspoken yet extreme music is far from being watered down. "Time Waits For No Slave", the band's 13th studio album (excluding the cover album "Leaders Not Followers Pt.2") marks no exception – as long as this is a world gone wrong, NAPALM DEATH will be utilizing their artistic arsenal to attack those in charge, no matter if their fanaticism stems from a political, religious or simply greedy motivation.
On "Time Waits For No Slave" the legendary fathers of grindcore explore fundamental aspects of our so-called modern life and point out that ideas of servitude are still existent in the allegedly tolerant, liberal society we live in. Despite the old cliché that "we are living in the 21st century" for one thing, women are still sneered at, treated like second-class citizens and viewed in some quarters as baby machines rather than beings in their own right. Giving up our own ideals, wishes and desires to fit into the all too tight conventions still prevalent today might be a very general sounding subject, but the question is: if our freedom is true to the meaning of the word, this is something that affects us all!
Once again, NAPALM DEATH's concerns are realised through intense, devastatingly brutal songs that venture into groovier, neckbreaking mid-tempo passages to allow the listener to take a breath before vicious blast beats pummel you out of existence. The new material was arranged in intensive rehearsals in a trusty old lock-up room at Robannas rehearsal studio in Birmingham. Soon after, the band roared into the studio. The new effort was engineered and recorded by Russ Russell and produced by Russ Russell and Napalm Death at Foel Studios, Llanfair Caereinon, Wales. Further recording, overall production and album mixing / mastering was finally hammered out at Parlour Studios, Kettering, Northamptonshire, England. A special treat is included on the limited edition of the album as the bonus track "Omnipresent Knife In Your Back" sees bassist Embury also handling the guitars, Mitch Harris switching from guitars to drums and drummer Danny Herrera on bass.
While NAPALM DEATH is a prominent example on how to put words into action and has taken part in several benefit-based activities in the past, vocalist Mark "Barney" Greenway is also engaged in fighting for musicians' rights through the Musician's Union (a UK-based trade union) and strives for fairness for music followers via the same organisation. Renowned for their ceaseless touring activities and stellar live performances, following the album's release NAPALM DEATH will be promoting "Time Waits For No Slave" live worldwide - remaining at the helm of today's extreme music scene and humbly yet ferociously solidifying their legendary status once again!
The death metal band Immolation formed in New York in 1986; originally dubbed Rigor Mortis, the group first comprised singer/bassist Ross Dolan, guitarists Robert Vignaud and Thomas Wilkinson, and drummer Craig Smilowski. After a series of well-received demos, in 1991 Immolation signed to Roadrunner to issue their debut album, Dawn of Possession; a five-year gap (and a move to Metal Blade) preceded the follow-up, Here in After. With new drummer Alex Hernandez, the band resurfaced in 1999 with Failure for Gods. Close to a World Below was issued a year later.
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