Deceased – Luck of the Corpse

Horror Pain Gore Death Productions has reissued the classic debut album from Deceased “Luck Of The Corpse” on CD format. This version includes restored artwork, remastered audio as well as rare bonus tracks. Below is the official description:

True Death Metal from the grave… raw, ugly and proper! Haunting corpses with shrieks of underrated sickness, Luck Of The Corpse is a prime example of just how Death Metal the 80’s could get. Despite it’s release in 1991 as the first band signed to Relapse Records, Deceased’s debut album reanimates tracks primarily written & demoed throughout ’85-’89 and easily stands ground with Possessed, Necrovore, early Death, and demo-era Morbid Angel. This is the album that forged Deceased as one of America’s pioneering, legendary underground bands… a classic debut that still holds up 20+ years later! Features restored artwork taken from the film Black Sabbath, remastered audio and includes the unreleased 1990 Raw Demo plus a never before heard version of Feasting On Skulls recorded in 1998. Up The Tombstones!!!!!!

For wholesale information please email wholesale@horrorpaingoredeath.tk

You can order your copy for only $10 including shipping from Horror Pain Gore Productions.

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Cannibal Corpse: Bible of Butchery by Joel McIver

cannibal_corpse_bible_of_butchery-joel_mciver

Derided mostly by casual noticers of their cover art, Cannibal Corpse created a public face for death metal by becoming the most popular death metal band in history. Outselling the rest of the genre, they have kept on tour and pushing out albums for two and a half decades and now have unleashed their thirteenth album. Veteran music journalist and metal writer Joel McIver caught up with the band and wrote a history and explanation of Cannibal Corpse.

Intelligently, McIver opted not to try to make a narrative of his own. Instead he took a Glorious Times approach and let the band speak for itself for the most part, then knitting the disparate statements together into single narratives. The first two thirds of the book consists of statements from the band members which come across as unedited although their length suggests they were assembled from multiple interviews. The last third of the book contains a history of the band as a whole told through excerpts from interviews with the band, managers and other members of the underground community. The entire book is interspersed with song lyrics with brief explanations from the band. As a result, this book becomes easily readable and very personal, avoiding the pitfalls of trying to become overly formal or over-analytical with a band that does not want to be taken overly seriously.

In our twenties, we weren’t thinking too seriously about this stuff. Chris wrote the lyrics and we gave him free rein to be as offensive and disturbing as he thought necessary. Nowadays we probably think a little more about the subject matter of our songs, and the end result can be lyrics that are still horrifying but less overtly offensive. I think that sometimes a more subtle approach can be more effective for horror fiction anyway—‘subtle’ being a very relative term in our case, maybe the difference between a hatchet to the genitals and a hatchet to the head. But that’s what our band is doing really: putting horror fiction to music. We don’t back what the characters in our songs are doing: they’re just evil characters who are appropriate for stories like these. – Alex Webster (121-122)

If the book has a theme, it can be found in the normalcy of Cannibal Corpse. The band member biographies detail their early interest in heavy metal, then in musicianship, and their desire to be part of the new movement of harder and heavier music coming out after Metallica and later, after the first nascent death metal. They mention the classics of proto-underground metal like Sodom and Slayer, but focus on not the extremity of lyrics but the music itself. These men wanted to make music that did what their musical heroes did, but took it to a new level of intensity. They also wanted to have a sense of humor about it. And, going back to their earliest influences, they found idols who had also made it big on a commercial level: the 1970s hard rock and heavy metal acts that shocked the uptight citizenry but delighted mischievous and alienated kids everywhere. The comedic lyrics of torture, sadism, butchery, gore and mass killing arise not from a fascination with the dark and morbid, but a joy in disturbing social pretense that has more in common with Kiss or Judas Priest on the big stage, gyrating away as church ladies gasped.

When assembling the narrative of the band, McIver stacked statements from band members in such a way to tell the narrative through its strongest voices, inserting summaries of major events so that the least specific material is told from a third-person perspective. This gives more space to the band to speak about their own intentions and analysis, which enables this book to move along at a fast pace and never wind down into the kind of rambling anecdotes that blighted rock journalism in the 1970s and 1980s. As a result, it is both a short book and complete in its recounting of the Cannibal Corpse story. Through skillful editing, McIver avoids having the history drag or become tangential, and with the voices of the band members he brings up every essential topic in short, readable fashion. We also hear from band members and crucial actors like label boss Brian Slagel whose voices are not normally heard in the telling of this history.

In my downtime, I shoot guns. I’ve been interested in them since I was a kid. It’s the other thing I’m interested in apart from guitars, and it’s a great way to let off aggression. I go to ranges and shoot targets. Playing loud music is another good way to release stress. I like to go to the gym and work out, and I like to go out and drink and have fun with my buddies. Luckily, I’ve always been able to go anywhere and make friends. I live day by day. I would never have guessed that I’d still be doing this after all this time… — Pat O’Brien (46)

In the history of metal, Cannibal Corpse: Bible of Butchery will be remembered as a book that started a debate instead of ended one. Most analysis of Cannibal Corpse so far has focused on the reactions of others and has been unable to get around the disturbing imagery and lyrics. By mixing lyrics with histories, and looking at the motivation of band members for personal and artistic goals instead of reading the band as an advocate of what is described in its lyrics, Cannibal Corpse: Bible of Butchery reveals the commonality of Cannibal Corpse with heavy metal bands since the dawning of the genre. Instead of serving as a kind of unpaid advocate for serial killers everywhere, this band acted as a continuation of the heavy metal tradition of upsetting parents and delighting kids. By getting past the elephant in the outsider viewpoint room, McIver shows us Cannibal Corpse as they are, and lets their story tell itself and reveal the undiscovered history behind what for most people is the public face of death metal.

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Desecrating Satan’s Hipster Country Club Resort


Reviews contributed by Norma Angelina Dagostino.

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An Involution of Easter

Bill and Ted found themselves wandering through the middle east, somewhere. The time machine had finally shorted out when Ted connected it to his iPad, causing a brief detour through 1968 Christopher Street in New York and a Royal Navy frigate in 1780 at rum ration time before crashing somewhere into this Semitic wonderland.

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Interview with Sadist (Italy)

Promo pic for "Hyaena"

Perhaps it was to be expected from the quality of their earlier works, but Sadist’s Hyaena was one of the high points of what I listened to in 2016. With that in mind, I took the opportunity this Italian band provided to perform an email interview, with some hope of getting some insight into what makes Sadist themselves.

The band’s vocalist (Trevor Nadir) fielded my questions, discussing the past, present, and future of the band and giving us a better picture of what went into Hyaena in particular.

You formed in 1990, right in the middle of the first major flowering of death metal. What was the metal scene in Italy like back then?

TREVOR: Happy Metal Year!
The 90’s were very important for the Death Metal. Death, Cynic, Cannibal Corpse, Carcass, Deicide, Obituary, Morbid Angel and many others have contributed to birth and consolidation of the genre. In our country there were many Death Metal bands. It was certainly much more difficult, the correspondence with the other bands was only through physical mail. I’m very close to Death Metal of the 90s, for me the music stopped at that time, have a nostalgic and I would go back to those years. Sadist was the first band in Europe to add keyboards to Death Metal, we have always been a band that likes to experiment, keyboards were a strange thing, especially in those years, but we are very proud, this is our trademark, of which we are proud of still!

This is a more obvious question, but who are your influences? Have they changed with time?
TREVOR: Each of us listens to different music, perhaps for this reason, the sound of Sadist is contaminated with various styles. Sadist is absolutely a Techno Death Metal band, although in our sound there are other inspirations too: We all love Italian 70’s prog and ethnic music as well. In the past we experienced may ethnic instruments but the new album Hyaena, although it may be misleading, this is not an album about Africa, but on a concept centered around a ruthless predator, who lives in Africa.

We are professional people, we like to be prepared before to put out a new album and we always need to be satisfied of it, first of all. Sadist is a band devoted to technical, Tommy, Andy and Alessio are very prepared musicians, people who have dedicated their lives to their instruments, and very serious guys with one and only personal goal: to always improve. The technique is certainly important but, above all, we must think about the songwriting, the technique must be functional to the music and not an end in itself.

Building off the previous question – how has it changed in the last 25 years?
TREVOR: 25 years ago it was different, it was definitely difficult. Today we are doing interviews via email, on a day we can connect several times around the world, work remotely is something normal. Think of how hard could it be that only a few years ago, can reach somebody or something. However there is also something that works worse, in fact I think that today, it’s all too much and take away, music, bands are increasingly less durable and is no longer the time for rock stars. There is a great saturation and the band, especially the younger ones make great effort to stand out, it is increasingly a question of money. This is not a good time, we hope that the trend changes.

What inspired you to make a concept album about hyenas?
TREVOR: I always take care of the lyrics and the concept album of the album too. I’m a convinced naturalist, I always loved and respected very much the wild hyena. It’s a skillful hunter, smart, and very strong, many people believe it is only an animal that feeds on carrion, a thief, a street sweeper, but this is a myth, the hyenas are ruthless hunters, animals with incredible strength and intelligence, adaptable to any situation. Inside text can be found habits of the herd, hunting tactics, ancient legend which tells that the hyena is ride from the devil, the brutal nature of the animal devour their prey alive. Our music is brutal and the combination with the hyena was something natural, we are talking about an extremely brutal animal. We were lucky enough to pose for new photos with a skull of a hyena, who died in 1888, and we have thank for that all the staff of the Museum of Natural History “G. Doria” in Genoa, Italy.
I love Hyaena

Another promotional pic for Hyaena

Hyaena strikes me as, at least in part, inspired by recent developments in metal and progressive music (although I can hear some of this on the previous album as well). Is this your intent? Any particularly recent musical influences of interest?
TREVOR: I would say no, simply Season in Silence was supposed to be a springboard to do better next time and we believe that Hyaena is now the most mature album of the band. Every Sadist’s album has different sounds, We are a band that remains faithful to experience, which is why our albums sound different from one another. Season in Silence is colder, both for the lyrics and the music, with Hyaena instead we resumed ethnic and tribal instruments, close to Mediterranean tradition. It’s hard to make terms of comparison… Although, as mentioned before, We are certain that this is the best chapter of the band up today.
Hyaena is a very Sadist album, containing our Death Metal matrix, but at the same time it was our intention to go back on the tribal and ethnic sounds, already used on albums like Tribe and Sadist. On Hyaena We wanted to get to the bottom and We’ve asked for help from Jean N’Dyaie, a great musician, a talented African percussionist. We simply wanted to bring to African culture, their sounds, their habits, We need all of this. Tommy has played many instruments linked to African tradition, like the oud and the santur, We did a thorough search in the traditional sound. Hyaena is a Death Metal, brutal, tribal, ethnic, Mediterranean and terribly Sadist album!

Since you’ve had a keyboardist from the beginning – how do you go about adding keyboard parts to your music?
TREVOR: As mentioned earlier, Sadist born with keyboards, this is our strong identity. Tommy is now known, as the musician playing two instruments simultaneously. It’s an incredible musician. Needless to say, many songs take ideas from the structure of the keyboards, the initial ideas on which is built the structure of the song. We could not think of Sadist without keyboards. We are then to be honest these keyboards are the instruments that characterize the disturbing and horrific soul of our band.

Many of the tracks on Hyaena avoid merely using simple verse/chorus structures. How formal/planned is your composition process these days?
TREVOR: We are a Techno Death Metal band, surely, it is true, however, that we want to keep in mind that we are talking about the songs and the structure has its own importance. Get Death, a band that was technically prepared, but it certainly can not be said that they did not songs, the whole song is what you have to stay ahead. We must try to give space to each individual instrument, absolutely, but one thing is certain, the song is not to be raped.

As a corollary to that, has the way you approach songwriting changed significantly throughout your career?
TREVOR : Sadist is a band that works as a team. Each of us carries out our task to the best of its ability. We are ambitious people, who do not save. Music and lyrics are walking side by side, while Andy, Tommy and Alessio were busy writing songs, I was far from the chaos of the city, and I took care of the lyrics. Each of us is aware of what it takes to the band, the certain sound, the particular phrase.The initial ideas are dictated by Tommy and Andy, though, with the new album, the contribution of Andy was particularly important; really inspired when writing riffs. Our music is generated accordingly to the issues addressed in this way we can have the right impact.

What’s your favorite part of Hyaena? What’s something you think can been improved?
TREVOR: We are very happy about the new album. Sometimes it happens that at the end of the recordings you think something could be improved, this has not happened this time. We worked in our Nadir Music Studios, by taking the time needed, working with the necessary calm you can afford to do things in the best way. Personally I am very attached to “The Lonely Mountain”, it’s the first videoclip for the album, a song that’s very Death Metal.

What other bands, metal or not, do you guys listen to/think are worth following these days?
TREVOR: There are so many good bands, but as mentioned before, are tied to Death Metal. The 70/80’s and 90’s have spoken and given a lot to the music, it’s hard to think of something new. Despite the young guys, all play very well, maybe what it is not is their originality or at least their attempt at being original. Having everything at once is perhaps killing their genius.

A question lifted from another interview we had on our site: What do you attempt to capture, express or communicate through your music? Or is this even the goal of music? Is music communication or decoration? What is the goal of your art?
TREVOR: Making music is an art form, certainly. The messages may be different. Playing Death Metal means venting their anger inward on the system, but at the same time means telling, through the lyrics, your thinking or your mood, this also peer through the melodies of the instrument. The music is not only heard, it should be read, viewed, stored.

What are your plans for the future like? Any upcoming touring or new material we should know about, or is it too early to say?
TREVOR: As for the promotion, by the time we organized with our label Scarlet Records, we want to make a great team effort, people are professional and prepared, and there is great mutual respect. But a good promotion also involves the live set, which is why we started to try, are not canonical songs, and certainly not easy to play on stage, you need preparation. About upcoming releases, together with our booking agency (Live Nation) are working on the next steps, we received a number of proposals, even for a couple of tours in Europe, we expect to be on stage as soon as possible, we are excited by the idea of play the new songs. We want to do our best, in any event, provide a spectacular show to the public , carry the name Sadist as high as possible, and then who knows, reprint the first album and think of a new album. We’ll play at the next Hellfest, and other festival, and we hope to play in the USA; we have many friends and fans who are waiting for us.

If you have any closing remarks you want to make, now is a good time to write them.
TREVOR: For many years I documented the animal in question. I’m really interested, especially for its hunting techniques, although not underestimate the importance of the pack and hierarchies within the same. Animals are crazy, very strong, resistant, challenging and hunt prey much larger than them, and at the same time you also have to cope with other predators, much larger. In this respect, according to what was said earlier, is the number to make a difference. The hyena is a voracious predator that brutally tears apart its prey, an unwitting and innocent murderess. Not scavengers, nor thieves, and they don’t eat only carrion, absolutely not, indeed, are sometimes other animals, such as lions, hyenas to steal the hunted. For many years I document, through books, movies, stories. Television is a stupid means, however, in the 80’s and onward, it allowed me to deepen this interest, thanks to interesting documentaries.
The hyena is an incredible animal, charming, because it’s my favorite predator. We must dispel the myth, the hyena is not only a scavenger carnivore, it also feeds on carrion, but is a skilled hunter, which has a strong team spirit and where within the song applies a strict hierarchy, where the matriarch has absolute power. He saids that the devil comes in the night riding a hyena, and that that the hyenas dig up the corpses. After their death the eyes turn into stones, and Zambezi sorcerers, devourers of men, took the form of a hyena, they appeared to the dead, that they rose and were torn to pieces. Around the campfire, it consumes the sacrifice of a young goat, putrid flesh of zombies and fresh meat for the last dinner. All of this is “The Devil Riding the Evil Steed”.

All the best to you, staff and readers. Stay Brutal!

Trevor Sadist

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Deceased releases Cadaver Traditions tracklist

Longstanding US speed metal/death metal band Deceased has completed work on its upcoming two-disc album of covers, Cadaver Traditions, which will be coming out on Hells Headbangers Records this summer.

Cadaver Traditions will include 53 tracks in total, with two of those being brand-new recently written Deceased songs which had previously been released on vinyl. Judging from the wide range of influences on this disc, it will not only be fun for Deceased fans but for metal historians looking for the roots of early death metal.

53 tracks in all 2 cd set… look for it this summer on hells headbagers ‘cadaver traditions’. cover song mania and the 2 newest deceased songs finally on cd. up til now it was only vinyl.

    DISC 1

  1. Black Metal (Venom Cover)
  2. Deathrider (Anthrax Cover)
  3. Corporate Death Burger (MDC Cover)
  4. Dis-Organ-Ized (Impetigo Cover)
  5. Right Brigade (Bad Brains Cover)
  6. VoiVod (VoiVod Cover)
  7. Doomed By The Living Dead (Mercyful Fate Cover)
  8. California Uber Alles (Dead Kennedys Cover)
  9. Wrathchild (Iron Maiden Cover)
  10. Here To Stay (Sheer Terror Cover)
  11. Headhunter (Krokus Cover)
  12. SATO (Ozzy Osbourne Cover)
  13. Do Or Die (Znöwhite Cover)
  14. Violent World (45 Grave Cover)
  15. World Peace (Cro-Mags Cover)
  16. Eliminator (Agnostic Front Cover)
  17. Die By The Sword (Slayer Cover)
  18. Witching Metal (Sodom Cover)
  19. Social Security (Excel Cover)
  20. Violence And Force (Exciter Cover)
  21. The KKK Took My Baby Away (Ramones Cover)
  22. No Compromise (Xentrix cover)
  23. Chemical Warfare (Slayer Cover)
  24. Bodies (Sex Pistols Cover)
  25. Not To Touch The Earth (The Doors Cover)
  26. Reaganomics (D.R.I. Cover)
  27. Torn apart by werewolves (Deceased )
  28. DISC 2

  29. Mad Man (D.R.I. Cover)
  30. Fire In The Sky (Saxon Cover)
  31. 2 Minutes To Midnight (Iron Maiden Cover)
  32. Die Hard (Venom Cover)
  33. V.A. Rocks Your Liver (Verbal Abuse Cover)
  34. Blower (Voivod Cover)
  35. Wiped Out (Raven Cover)
  36. Stay Clean (Motörhead Cover)
  37. Tormentor (Kreator Cover)
  38. Nuns Have No Fun (Mercyful Fate Cover)
  39. Agents Of Steel (Agent Steel Cover)
  40. State Oppression (Raw Power Cover)
  41. Bombs Of Death (Hirax Cover)
  42. New Age Of Total Warfare (Warfare Cover)
  43. Metal Church (Metal Church Cover)
  44. Subliminal (Suicidal Tendencies cover)
  45. Zombie Attack (Tankard Cover)
  46. You Stupid Jerk (Angry Samoans Cover)
  47. I’m Not Jesus (Ramones Cover)
  48. Nothing (Plasmatics Cover)
  49. Iron Heads (Running Wild Cover)
  50. Stand Up And Shout (Dio Cover)
  51. False Profit (English Dogs Cover)
  52. Ultra Violent (N.O.T.A. Cover)
  53. The Ballad of Harry Warden (My Bloody Valentine soundtrack cover)
  54. Luck of the corpse (Deceased)

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