Earache Records is repressing the vinyl LPs of Bolt Thrower, Carcass, and Morbid Angel from the original tapes due to popular demand and inflated Ebay and Discogs prices. I reviewed the “Full Dynamic Range” remaster of Altars of Madness last year which sounded great. All are available for pre-order from Earache’s webstore and digital versions of most are on Earache’s Bandcamp page.
Carcass have been touring almost-nonstop since reuniting and releasing their phoned-into-ProTools excuse to tour, Surgical Steel. Right after supporting Slayer, they have announced yet another set of dates. Despite the mainstream metal openers, this “One Foot in the Grave 2016” might be worth worth checking for grindcore and death metal die hards as Carcass play material from all periods of their career when headlining.
Following a successful assault on our shores alongside label mates SLAYER and TESTAMENT, disinterred British metal icons CARCASS, will return to North America for a headlining tour this summer.! Joining them are southern metal heavy weights CROWBAR, horror thrashers GHOUL, and Los Angeles based metal act NIGHT DEMON.
“One Foot In The Grave 2016”
CARCASS, CROWBAR, GHOUL, NIGHT DEMON
07/16/16 Chicago, IL – Chicago Open Air Festival
07/17/16 Lawrence, KS – Granada Theater
07/19/16 Denver, CO – Bluebird Theatre
07/20/16 Salt Lake City, UT – The Complex
07/22/16 Sacramento, CA – Ace Of Spades
07/23/16 Santa Ana, CA – The Observatory
07/24/16 Los Angeles, CA – The Roxy Theater
07/25/16 Phoenix, AZ – Club Red
07/26/16 El Paso, TX – Tricky Falls
07/27/16 Albuquerque, NM – Sunshine Theater
07/29/16 Memphis, TN – New Daisy Theatre
07/30/16 Louisville, KY – Mercury Ballroom
07/31/16 Columbus, OH – Park Street Saloon
08/01/16 Baltimore, MD – Baltimore Sound Stage
08/02/16 Richmond, VA – Broadberry
08/03/16 Philadelphia, PA – Underground Arts
08/04/16 New York, NY – Gramercy Theatre
08/05/16 New Haven, CT – Toad’s Place
08/06/16 Montreal, QC – Heavy MTL Festival (Carcass only)
Keep in mind that Carcass are still entertaining when shitfaced:
I love used book stores — generally libraries, thrifts and small independents — because the chase is greater than the catch, and finding a rarity or just something fun to read is an inexhaustible thrill. A selection of old books gives a distinct perspective not just of writing but of history.
Each time I look over the dusty spines, castoffs of previous generations or well-loved volumes containing advice relied upon by those who came before, I am reminded how human history is a lattice of ideas. Each great thinker is a nodal point from which others branch, re-combining with other ideas or adding their own. And each writer boils down to one idea, usually, with the greatest having a handful.
The rest is a support system for that. To take a great idea and fling it out into the world requires a book, a third of which is introduction, a third explaining the idea in depth and a final third gesturing at relevance and shouting down the inevitable counter-arguments. Then the author spends the rest of his/her career amplifying on that idea or chasing its elusive ultimate form. Then, RIP and all of that boils down to a sentence of summary that most people know.
Think of Charles Malthus (“utilized resources expand algebraically, but population grows exponentially”) or even Adam Smith (“the self-interest of the many results in a balance”). Metal bands are remembered the same way: Black Sabbath (“used horror movie aesthetics on heavy rock to invent proto-metal”) or Suffocation (“used death metal textural complexity with speed metal choppy strumming styles”).
And Carcass? They will forever be remembered as the guys who made clumsy grindcore based around medical lyrics. This is too bad, as their real strength was to expand the grindcore song structure to include longer riffing that often emulated Second World War era popular music, even if unconsciously.
In fact, most of their success comes from the fact that they did everything unconsciously. On the surface, they were having a laugh with gore lyrics and sloppy grind. The first album, Reek of Putrefaction, is entirely unselfconscious in this way. It does not want to be anyone’s friend, or appeal to an audience. It is just having fun and accidentally unleashes the subconscious mind through a biting parody of society and its fear of disease and death.
It was that awkward and offhand element that caught the imagination of an audience. That, and the ripping tunes: the first Carcass album made grindcore complex enough for songs to be distinctive, but kept its rumbling chaotic surface that hid the structure. This made it heavier than most of what was out there at the time and inspired a thousand imaginations.
After that point, however, the Carcass story tapers off. Every album since then has been the band trying to re-interpret its original unintentional success, but to expand it by making the music more like Led Zeppelin and Metallica so that it can be “serious.” And therein is the problem: this band suffers a deep neurosis and when it tries to be serious, it fails. When just drunk and goofing around, these guys are able to reach into the unsocialized parts of their minds and come up with something good.
Symphonies of Sickness came out shortly after Reek of Putrefaction, but already shows us a more self-conscious band. The title is cute, the songs more obviously melodic and prone to borrow hard rock riffs, and the production still vicious but in a controlled way. Everything about the second Carcass album is a managed environment designed to manipulate appearance just like the neat rows of houses in the suburbs, political speeches and advertisements for security companies. The band reversed its raw approach and joined what they mocked.
After that, it has been all downhill. The Tools of the Trade EP showed us the new Carcass: melodic songs, death metal riffs and none of the grindcore urgency or organic appeal. It was all very much a product of the conscious mind trying to be serious so that other people would like it. Necroticism — Descanting the Insalubrious shat the bed with more of the same. For the time, it fit in competitively with death metal, and I listened to it then, but found over the years that I reached for it less and less.
I feared becoming like an old punker I met back in the early 1990s. “Carcass, great band, but they lost it after the first album,” he said. I knew these guys, I felt. They were like the old bearded dudes in robes who stood on streetcorners in the 1960s with signs saying THE END IS NEAR. They were walking stereotypes: the bitter old “truist” who only likes the demos and maybe the first album for any band, and will tell you to stop listening to that commercial shit you’re pimping and look up some rare, expensive and ineptly-packaged 7″ or cassette instead.
But the old guy — at probably 35, already a curmudgeon-in-training — had a point: most bands have only one idea. In metal and punk, bands are artists first and musicians second; they become musicians to express some idea or feeling. They intuit that musicians become experts in making music that people like and as a result, the external form dictates the content and it becomes about like everything else: technically correct, artistically empty like all the other products, fast food and celebrity autobiographies.
Carcass went on to get a PhD in bed-shitting with Heartwork, which was a decent speed metal album with some nice technical touches, but lacked any purpose so became overly “emo.” After that, the grindcore audience fled and the hard rock audience — this was pre-nu-metal days — was scared off by the vocals, so the Carcass brand went into free fall. The band launched a bitter final salvo with Swan Song in which they realized that their responsible, middle class daylight personalities always wanted to just be Led Zeppelin because that is how you work hard and succeed in rock ‘n’ roll as a career!
I fall between your average suburban music fan and the old crusty punk. Perhaps the Peel Sessions, “Flesh Ripping Sonic Torment” demo and a few scattered 7″ and live shows are the “real” Carcass, but the first album is real enough for me. After that, the band gets self-conscious and soon there is a stinky speedbump under the sheets. But Reek of Putrefaction is great and every person who enjoys quality outsider music should hear it.
A veritable tour of the fallen? Perhaps. Blabbermouth recently blabbed about these bands going on a tour of the US some time in 2016. According to them, a March 3rd performance at the Fillmore in Philadelphia has leaked, but little else has been officially revealed. If this does turn out to be an actual tour, and not just an attempt by record labels to entrap some sort of leak at Blabbermouth, it’s… probably worth noting, but far from the best lineup you’re going to see. Slayer and Carcass, at the very least, have strong legacies under their belts (although recent works fail to live up to such), but Testament’s career has been iffy at best, despite some musically proficient if not particularly inspired speed metal at the beginning of their career. As usual, it’s up to you, the reader, to determine whether this concert is worth your time.
Editor’s note: The tour was later confirmed. As of December 3rd, here are the dates:
2/19 – Riviera Theatre, Chicago, IL
2/22 – War Memorial, Nashville, TN
2/24 – The National, Richmond, VA
2/26 – House of Blues, Myrtle Beach, SC
2/27 – The Ritz, Raleigh, NC
2/29 – The Fillmore, Charlotte, NC
3/2 – Capitol Theatre, Port Chester, NY
3/3 – The Fillmore, Philadelphia, PA
3/5 – The Fillmore, Silver Spring, MD
3/6 – The House of Blues, Boston, MA
3/8 – LC Pavilion, Columbus, OH
3/9 – The Orpheum, Madison, WI
3/11 – Myth, St. Paul, MN
3/12 – Civic Auditorium, Fargo, ND
3/14 – MacEwan Hall, Calgary, AB
3/15 – Shaw Centre, Edmonton, AB
3/17 – Revolution Event Center, Boise, ID
3/19 – The Paramount, Seattle, WA
3/20 – Roseland Ballroom, Portland, OR
3/22 – Warfield Theatre, San Francisco, CA
3/26 – The Joint, Las Vegas, NV
On Friday, November 13th, you will be able to purchase Carcass’s latest compilation (Casket Case) for up to one minute. Earache Records claims that their previous ultra-limited box sets have sold out incredibly fast and it seems unlikely that this will be an exception. Casket Case features all five of the studio LPs Carcass released for Earache, meaning that you get the later underwhelming “melodic death metal” material as well as earlier, formative grindcore and death metal if you manage to get your hands on this. As a consolation price for those who fail to get their hands on this apparent bounty, Earache is also discounting the separate albums on CD for some time, as well as two compilations from when the band was dissolved during the late ’90s and early 2000s.
Carcass lead guitarist Bill Steer stated in an interview with Loud Magazine that he prefers to keep listening to older music as his taste does not include newer developments in metal.
Here is the relevant quote from the interview:
Q: Do you keep tabs on new developments within heavy music at all?
A: No, not really. I listen to music all the time, but I guess I’m the first to admit that I’m living in the past. When it comes to heavy music I really only listen to the old stuff. Occasionally someone will play me something by a contemporary band, and sometimes it’s something that’s quite impressive, but I don’t think I’ve heard anything lately that I would say makes me want to go out and buy the album, listen to it at home, or be inspired by it for new music. It’s just a personal taste thing, because I know there’s other people out there who are equally passionate about that music, but for them it’s all about what’s happening now, and the next thing. So it’s just down to the way your brain works, and what turns you on musically.
To many of us, this gives an interesting insight into Carcass stylistic changes throughout their discography. Many point their fingers at Michael Amott for the change in Carcass’ music towards their third album. But Bill Steer’s declaration is revealing of what his band is about regardless of Amott’s contributions.
Michael Amott’s previous work with Carnage revealed someone more in touch with the developments of death metal. Of course, the eventual paths each of these artists took with Arch Enemy and Carcass both show a penchant for 1980s heavy metal. But Stigmata still shows a more forward vision than the infamous Swansong.
While staying in touch with your roots, or any roots, for that matter, is important for convincing artistic development to occur, there is no development without looking forward towards a new horizon. By its very nature, music that attempts only to emulate what was is doomed to be an empty husk.
From the opening dual guitar harmonies straight out of 1985 that bring to mind the live intro to a Europe or Stryper set, it’s obvious that this album will be more in line with the guitar hero pop-metal of Arch Enemy than anything from Symphonies of Sickness or Reek of Putrefaction.
To some degree, that’s to be expected. Carcass threw in the towel on forward momentum long ago (1991) and have resorted to playing up their namesake for the purpose of phoning in stadium metal for the aesthetically overblown Wacken age, and Surgical Steel is perhaps their most commercially flexible attempt at filtering late model radio format speed metal through a death metal aesthetic filter, where actual death metal technique is limited to tremolo picking, blast beats, and Jeff Walkers vocals.
Carcass joining an elite cadre of financially successful bands by doing so, starting with At the Gates’s Slaughter of the Soul and even Pantera’s Far Beyond Driven. Let me state it again for those who wish to be millionaires: the appearance of being an outsider to a society nearly universally loathed by its inhabitants, with an underhanded delivery of comfortingly familiar derivative works that by their obedience affirm the social order, will always be a financial success. It allows the appearance of rebellion with none of the actual costs. It’s like artistic insurgency tourism.
Surgical Steel ends up being a mix of Swansong‘s Thin Lizzy-isms applied to the framework of songs like “This Mortal Coil” and “Doctrinal Expletives.” These songs have more to do with Mike Amott’s recent Wacken pandering than anything on Heartwork. “A Congealed Clot of Blood” resembles a “revisited”, more uptempo version of Swansong‘s “Don’t Believe a Word” and the last song, brings to mind the best years of Sanctuary with its sentimental melodic guitar intro, or evokes the Overkill ballads “The Years of Decay” and “Soulitude” with its emotional framing and pacing.
Some tracks like “Cadaver Pouch Conveyor System” attempt aggression by utilizing the same speed metal meets extreme music technique as “Carnal Forge” from Heartwork, but with the obvious “money riff” effect of the dual harmony guitar part that is the focus of these songs. The reversion to old lyrical themes (based off the song titles and album artwork) seems like misdirected fan service as these songs would probably win over more people from the Century Media crowd if the lyrics had the same simple “emotional” topics that songs such as “No Love Lost” had.
While this album may appease the simple appetites of those who merrily purchase Arch Enemy and Children of Bodom albums, many songs try to deviate from the verse-chorus stylings with an overloaded, ill-fitting bridge that detract from their simple nature. This divided nature may keep Surgical Steel from being as successful as recent Hypocrisy or Slaughter of the Soul in the arena of stadium faux-death AOR metal for drunken Wacken attendees.
Again, we say: if your heart is no longer in death metal, don’t bother. Start up a project band and transition into progressive rock, classic rock, or whatever it is that actually appeals to you. Explore your new musical pathways. It’s just as much a sell-out to try to “stay true!” when you no longer care as it is to make Justin Bieber-styled pop because you know ten million teeny boppers from the ‘burbs will buy it. Musicians, chase your dreams. We get the best of your talent that way, even if we have to transition genres to appreciate it.
Carcass started as a grindcore band with one crucial difference: they sang about gore, disease, decay and torture instead of political topics. It was a sort of metapolitics, a way of viewing the world that reduced humans to meat and hopefully induced compassion.
After a few years of doing this, and playing live many nights in a row, they improved at playing their instruments and began wanting the acclaim that other bands got. So their style drifted, first to death metal (Tools of the Trade), then to speed metal (Heartwork) and later to hard rock (Swansong). Then the band disbanded, and only returned this year.
“Captive Bolt Pistol,” which is the first song to leak from Surgical Steel, roughly resembles Tools of the Trade crossed with Swansong. It uses death metal tempos and inflections, but hard rock riffs, and lots of bluesy rock-style leads. If this is their new direction, it seems a reasonable assumption if they hope the rock audience will cross over to like a band named Carcass.
The first new Carcass album in 17 years, Surgical Steel was created by a lineup of original members Jeff Walker (lead vocals, bass), Bill Steer (guitar, vocals) and new drummer Daniel Wilding (ABORTED, HEAVEN SHALL BURN), with guest vocals from original drummer Ken Owen.
- The Master Butcher’s Apron
- The Granulating Dark Satanic Mills
- A Congealed Clot Of Blood
- A Wraith In The Apparatus
- 316l Grade Surgical Steel
- Cadaver Pouch Conveyor System
- Captive Bolt Pistol
- Intensive Battery Brooding
- Non-Compliance To Astm F899-12 Standard
- Mount Of Execution
- 1985/Thrasher’s Abattoir
- Unfit For Human Consumption
- Livestock Marketplace
After 17 years of silence, English grindcore pioneers Carcass are to release a new studio album early next year. According to an interview earlier this month, original members Jeff Walker and Bill Steer are at it again together with new drummer Daniel Wilding.
Carcass made metal history with their debut album Reek of Putrefaction (1988) and their masterpiece Symphonies of Sickness (1989) and hopes are of course that the band will revive some of the spirit from those days. On a more pessimistic note, the band’s last offering was Swansong…
We’ve done this recording firstly for ourselves—there’s no label backing even as you read this—in fact me and Bill have spent a small fortune out of our pocket to see this through—it’s more of an artistic/personal statement than anything.