Review by Jeger on July 23, 2024.

I remember the days when Cannibal Corpse were a lot more than the commercial death metal powerhouse that they are today. The artwork, the aggression, the lyrics and Barnes - a repulsive cocktail of volatile poison to the average American household. And the kids were all over it… Chuck and Death had led the way with their debut record and before we all knew to look over our shoulders, from out of Buffalo, New York and down to Tampa, Florida, Cannibal made their way, and the world of death metal has never been the same. No one was prepared for these dudes and never before had such grisly music been unleashed on American soil. Their debut, “Eaten Back to Life” and 1991’s “Butchered At Birth” - downright absurd in their flagrance and neither pastors, parents nor therapists could quite wrap their heads around them. Cannibal Corpse were the epitome of everything that extreme metal was meant to be.

True death metal was destroyed at the turn of the millennium. It gained popularity once people began to understand that it was nothing more than a sonic horror flick. Shock value? Gone and I believe that as a result, more and more bands began to realize that they’d better get to innovating before the trend died. Subsequently, outfits like the aforementioned Death and Monstrosity began to experiment; carrying the music over technicality’s threshold into and onward toward genre revolution. Cannibal Corpse? Well, they just sat back and held down the fort; unwavering in their mission to create only the most violent and depraved death metal. Sure, the thrill of the kill has faded into mere entertainment value for horror buffs and riff junkies, but the spirit and energy have always been there as Cannibal have so valiantly stayed true to what they’ve always done.

Now, death metal has become something rather silly thanks to bands like Cattle Decapitation whose idea of DM is a modern day abomination. AI cover art, sanitized production and overwhelming percussion. Not to mention carbon-fiber tech bands like Archspire whose main ambitions revolve around creating death metal to impress other musicians as opposed to bringing the old-fashioned carnage. But alas, Cannibal Corpse are having none of it as usual. On September 22, CC released their latest effort, “Chaos Horrific” via Metal Blade.

Scarce are the telltale chops and grinds that have so defined Cannibal Corpse’s style over the decades. With “Chaos Horrific”, the band are drawing blood with a bit more ease as opposed to the usual frantic disembowelment. Fluid progressions, swifter tempos and a rejuvenated approach to soloing have made for a more unique experience than what we’ve come to know. Tracks like “Overlords of Violence” and “Frenzied Feeding” channel old-school Sepultura and herald Kreator’s debut “Pleasure to Kill” with thrash-hearty riffs and flesh-blistering leads. So much more life to this album, nothing forced or vulgarly misplaced. Cannibal Corpse are quite simply in the zone on this one. Taking it easy as it were… The approach toward percussion a martial one and it’s a guitar-driven affair from beginning to end. Tried and true songwriting methods, fundamentally sound and epic yet simple in regard to its segmented compositions - an album for one who’s taken aback more by class than brutality alone. Finally, a new Cannibal Corpse record that testifies to the band’s long and deep-running understanding of what traditional cranium-splattering death metal should sound like. A little something to bang your sick heads to.

“Chaos Horrific’s” high water mark is undoubtedly the titular cut. Midway through the album, you’ll experience Cannibal Corpse at what I feel is a newfound apex. A little finesse and a lot of speed, a respectable level of catchiness and predictable but in no way boring - one of this legendary band’s finest album contributions. Cannibal Corpse have loosened the old belt a bit and much of “Chaos Horrific” feels like a loose studio session; “Entombed “Wolverines Blues” level jam and disregard for technicality. It feels almost as if CC had a lot more fun this time around. Something had to be done. Another album like “Violence Unimagined” would’ve been an exercise in redundancy. Cannibal Corpse are proving that there’s still some gas in the tank and I feel that it’s of the utmost importance for them to adhere to what they did here. A nice change of scenery from the typical “let’s try to create the most brutal album ever” type of American death metal recording.

Rating: 8.5 out of 10

Review by Michael on August 23, 2023.

Only two years after Violence Unimagined guys from Cannibal Corpse are going to release their 25th studio album Chaos Horrific. I guess they used the Covid-19 lockdown times very productively, otherwise I cannot explain the short time period between the two albums. For me Violence Unimagined was a quite okayish Cannibal Corpse release, I feel very different about Chaos Horrific.

Starting with a casual The Bleeding - in memoriam bass riff, 'Overlords Of Violence' (damn, the title reminds me of an old Playstation game) goes into a very interesting direction. Although the song sounds pretty much like a "normal" Cannibal Corpse song, it has some nuances that make the song a very catchy and with a few other ones the most accessible song on the album. The guitar solos are pretty sick and the whole thing is a high speed neck breaking trip that leaves no room to breathe. That's a very good start for sure. With 'Summoned For Sacrifice' the band has released their second single a few days ago and this one may be the most outstanding and catchiest song on the album. The lyrics are pretty sick and Corpsegrinder's vocals sound as malevolent as possible. The song is a pretty much a mid-tempo stomper, only here and there the Floridians increase the tempo to severe some body parts. 'Blood Blind' starts with some slow lava-flowing Morbid Angel-like riffing (not the only parts where you can clearly recognize Erik Rutans influence on the song writing) but soon turns into a slow galloping avalanche of massive death metal riffs. That's a pretty simplistic but brutal track. But as I mentioned before not all songs make it that easy. Let's take the title track as a very good example. The beat of the song is very confusing and the term "chaos" matches pretty good to the song. Okay, not right from the start but when the vocals start Paul Mazurkiewicz's drumming sounds very unusual and very technical. Same goes to the sick guitar solo which again reminds of Morbid Angel or early Hate Eternal. But there are also some really typical CC songs to find here like 'Pitchfork Impalement' (hell yeah, the fall and the harvest will come soon!) or 'Vengeful Invasion'. Oh, and with 'Pestilential Rictus' they do have written a very punkish one with some fantastic thrash borrowings, too. Just check the song structure and you will know what I mean.

There are a lot of cool surprises in the songs. In comparison to its predecessor, the songwriting is much more diverse and this is the reason why in my humble opinion this might be one of the three best Cannibal Corpse albums in their discography. The band hasn't focused that much on brutality and technicality this time but more on variety and joy of playing. I guess that they had a quite different approach towards the song writing this time which seems to be successful and somewhat refreshing. Also the production of Chaos Horrific is well done. The instruments sound powerful and well-balanced and the crushing vocals are brutal as hell. There were some albums that didn't sound that good in the past. If the next album will be that amazing and we just have to wait 2 more years again, I won't be sad about it!

Rating: 9.2 out of 10

Review by Arek on May 2, 2021.

Thanks to the gentleman with the mysterious nickname Nameless (git.) there was all this commotion, which was called KIRA. When the death metal body called Nomad in which he was involved became too tight, and the left hand path tempted with the dark side of the force, in the year 2015 Kira started its existence. After completing the line-up and two years of perfecting musical ideas from hell, the 14-track Ancient Lies was created. But we're not here for that, not yet, not now! Three summers and winters later, when Kira's line-up grew to a quintet and new ideas matured, a second album was born and it was named Peccatum Et Blasphemia.

Yes, this 10-piece work is the subject of my verbal distortions. Thanks to Ossuary Records, this album took on physical form and got itself into my hands. Before the act of consumption however, it is worth mentioning the characters who poured drops of their sweat on this occasion. Well-known for his participation in Behemoth and Nomad's father - Seth composed and played guitar in ‘The Fearful One’. Damian Gwardzik from Northern Plague went crazy on drums in 2 songs. And the graphic side was taken care of by Michał "Xaay" Loranc himself and it must be admitted that his ‘flaming’ vision harmonizes with the hellish nature of the album.

On their second album Kira served us a quite varied dish, where the main note is hoarse black metal with elements of death, but there are also doom-like tendencies. For example, ‘One Gram Of Your Soul’ brings back memories of early Tiamat from "The Astral Sleep" era. Although the album should be described as quite fast and aggressive, we will also experience some solid slowdowns in the ‘Temple Of Suffering’ melody, in 2/3 of ‘Lord Of Hallucinations’ and the character of ‘The Fearful One’ and ‘Weakness Isn't Breathless’. Each piece is enhanced with a glowing blast beat part however and everything would be OK, if not for... Somehow I don't like the sound of the album. The drums are fuzzy, and the guitars lack power in the fast attacks. Only the bass, as soon as music slows down, breaks through and crushes. But these are just my observations. The authors probably wanted the blackness and sulphur to breathe from the record and achieved it. The album is good to listen to nevertheless. It is aggressive, biting, but it also has an atmosphere that makes you feel fear and evil, blood and sweat, and the stench of hellish depths.

Peccatum Et Blasphemia is certainly not a complete album. It will not raise Kira to the thrones of hell, but it is certainly an album that can raise some interest in the band. After all, as the title of the first track says, this is just the opening of the gates of hell, and see for yourself the power of the flames bursting from the cover of the album.

Rating: 7.4 out of 10

Review by Arek on May 2, 2021.

Thanks to the gentleman with the mysterious nickname Nameless (git.) there was all this commotion, which was called KIRA. When the death metal body called Nomad in which he was involved became too tight, and the left hand path tempted with the dark side of the force, in the year 2015 Kira started its existence. After completing the line-up and two years of perfecting musical ideas from hell, the 14-track Ancient Lies was created. But we're not here for that, not yet, not now! Three summers and winters later, when Kira's line-up grew to a quintet and new ideas matured, a second album was born and it was named Peccatum Et Blasphemia.

Yes, this 10-piece work is the subject of my verbal distortions. Thanks to Ossuary Records, this album took on physical form and got itself into my hands. Before the act of consumption however, it is worth mentioning the characters who poured drops of their sweat on this occasion. Well-known for his participation in Behemoth and Nomad's father - Seth composed and played guitar in ‘The Fearful One’. Damian Gwardzik from Northern Plague went crazy on drums in 2 songs. And the graphic side was taken care of by Michał "Xaay" Loranc himself and it must be admitted that his ‘flaming’ vision harmonizes with the hellish nature of the album.

On their second album Kira served us a quite varied dish, where the main note is hoarse black metal with elements of death, but there are also doom-like tendencies. For example, ‘One Gram Of Your Soul’ brings back memories of early Tiamat from "The Astral Sleep" era. Although the album should be described as quite fast and aggressive, we will also experience some solid slowdowns in the ‘Temple Of Suffering’ melody, in 2/3 of ‘Lord Of Hallucinations’ and the character of ‘The Fearful One’ and ‘Weakness Isn't Breathless’. Each piece is enhanced with a glowing blast beat part however and everything would be OK, if not for... Somehow I don't like the sound of the album. The drums are fuzzy, and the guitars lack power in the fast attacks. Only the bass, as soon as music slows down, breaks through and crushes. But these are just my observations. The authors probably wanted the blackness and sulphur to breathe from the record and achieved it. The album is good to listen to nevertheless. It is aggressive, biting, but it also has an atmosphere that makes you feel fear and evil, blood and sweat, and the stench of hellish depths.

Peccatum Et Blasphemia is certainly not a complete album. It will not raise Kira to the thrones of hell, but it is certainly an album that can raise some interest in the band. After all, as the title of the first track says, this is just the opening of the gates of hell, and see for yourself the power of the flames bursting from the cover of the album.

Rating: 7.4 out of 10

Review by Arek on May 2, 2021.

Thanks to the gentleman with the mysterious nickname Nameless (git.) there was all this commotion, which was called KIRA. When the death metal body called Nomad in which he was involved became too tight, and the left hand path tempted with the dark side of the force, in the year 2015 Kira started its existence. After completing the line-up and two years of perfecting musical ideas from hell, the 14-track Ancient Lies was created. But we're not here for that, not yet, not now! Three summers and winters later, when Kira's line-up grew to a quintet and new ideas matured, a second album was born and it was named Peccatum Et Blasphemia.

Yes, this 10-piece work is the subject of my verbal distortions. Thanks to Ossuary Records, this album took on physical form and got itself into my hands. Before the act of consumption however, it is worth mentioning the characters who poured drops of their sweat on this occasion. Well-known for his participation in Behemoth and Nomad's father - Seth composed and played guitar in ‘The Fearful One’. Damian Gwardzik from Northern Plague went crazy on drums in 2 songs. And the graphic side was taken care of by Michał "Xaay" Loranc himself and it must be admitted that his ‘flaming’ vision harmonizes with the hellish nature of the album.

On their second album Kira served us a quite varied dish, where the main note is hoarse black metal with elements of death, but there are also doom-like tendencies. For example, ‘One Gram Of Your Soul’ brings back memories of early Tiamat from "The Astral Sleep" era. Although the album should be described as quite fast and aggressive, we will also experience some solid slowdowns in the ‘Temple Of Suffering’ melody, in 2/3 of ‘Lord Of Hallucinations’ and the character of ‘The Fearful One’ and ‘Weakness Isn't Breathless’. Each piece is enhanced with a glowing blast beat part however and everything would be OK, if not for... Somehow I don't like the sound of the album. The drums are fuzzy, and the guitars lack power in the fast attacks. Only the bass, as soon as music slows down, breaks through and crushes. But these are just my observations. The authors probably wanted the blackness and sulphur to breathe from the record and achieved it. The album is good to listen to nevertheless. It is aggressive, biting, but it also has an atmosphere that makes you feel fear and evil, blood and sweat, and the stench of hellish depths.

Peccatum Et Blasphemia is certainly not a complete album. It will not raise Kira to the thrones of hell, but it is certainly an album that can raise some interest in the band. After all, as the title of the first track says, this is just the opening of the gates of hell, and see for yourself the power of the flames bursting from the cover of the album.

Rating: 7.4 out of 10

Review by Arek on May 2, 2021.

Thanks to the gentleman with the mysterious nickname Nameless (git.) there was all this commotion, which was called KIRA. When the death metal body called Nomad in which he was involved became too tight, and the left hand path tempted with the dark side of the force, in the year 2015 Kira started its existence. After completing the line-up and two years of perfecting musical ideas from hell, the 14-track Ancient Lies was created. But we're not here for that, not yet, not now! Three summers and winters later, when Kira's line-up grew to a quintet and new ideas matured, a second album was born and it was named Peccatum Et Blasphemia.

Yes, this 10-piece work is the subject of my verbal distortions. Thanks to Ossuary Records, this album took on physical form and got itself into my hands. Before the act of consumption however, it is worth mentioning the characters who poured drops of their sweat on this occasion. Well-known for his participation in Behemoth and Nomad's father - Seth composed and played guitar in ‘The Fearful One’. Damian Gwardzik from Northern Plague went crazy on drums in 2 songs. And the graphic side was taken care of by Michał "Xaay" Loranc himself and it must be admitted that his ‘flaming’ vision harmonizes with the hellish nature of the album.

On their second album Kira served us a quite varied dish, where the main note is hoarse black metal with elements of death, but there are also doom-like tendencies. For example, ‘One Gram Of Your Soul’ brings back memories of early Tiamat from "The Astral Sleep" era. Although the album should be described as quite fast and aggressive, we will also experience some solid slowdowns in the ‘Temple Of Suffering’ melody, in 2/3 of ‘Lord Of Hallucinations’ and the character of ‘The Fearful One’ and ‘Weakness Isn't Breathless’. Each piece is enhanced with a glowing blast beat part however and everything would be OK, if not for... Somehow I don't like the sound of the album. The drums are fuzzy, and the guitars lack power in the fast attacks. Only the bass, as soon as music slows down, breaks through and crushes. But these are just my observations. The authors probably wanted the blackness and sulphur to breathe from the record and achieved it. The album is good to listen to nevertheless. It is aggressive, biting, but it also has an atmosphere that makes you feel fear and evil, blood and sweat, and the stench of hellish depths.

Peccatum Et Blasphemia is certainly not a complete album. It will not raise Kira to the thrones of hell, but it is certainly an album that can raise some interest in the band. After all, as the title of the first track says, this is just the opening of the gates of hell, and see for yourself the power of the flames bursting from the cover of the album.

Rating: 7.4 out of 10

Review by Arek on May 2, 2021.

Thanks to the gentleman with the mysterious nickname Nameless (git.) there was all this commotion, which was called KIRA. When the death metal body called Nomad in which he was involved became too tight, and the left hand path tempted with the dark side of the force, in the year 2015 Kira started its existence. After completing the line-up and two years of perfecting musical ideas from hell, the 14-track Ancient Lies was created. But we're not here for that, not yet, not now! Three summers and winters later, when Kira's line-up grew to a quintet and new ideas matured, a second album was born and it was named Peccatum Et Blasphemia.

Yes, this 10-piece work is the subject of my verbal distortions. Thanks to Ossuary Records, this album took on physical form and got itself into my hands. Before the act of consumption however, it is worth mentioning the characters who poured drops of their sweat on this occasion. Well-known for his participation in Behemoth and Nomad's father - Seth composed and played guitar in ‘The Fearful One’. Damian Gwardzik from Northern Plague went crazy on drums in 2 songs. And the graphic side was taken care of by Michał "Xaay" Loranc himself and it must be admitted that his ‘flaming’ vision harmonizes with the hellish nature of the album.

On their second album Kira served us a quite varied dish, where the main note is hoarse black metal with elements of death, but there are also doom-like tendencies. For example, ‘One Gram Of Your Soul’ brings back memories of early Tiamat from "The Astral Sleep" era. Although the album should be described as quite fast and aggressive, we will also experience some solid slowdowns in the ‘Temple Of Suffering’ melody, in 2/3 of ‘Lord Of Hallucinations’ and the character of ‘The Fearful One’ and ‘Weakness Isn't Breathless’. Each piece is enhanced with a glowing blast beat part however and everything would be OK, if not for... Somehow I don't like the sound of the album. The drums are fuzzy, and the guitars lack power in the fast attacks. Only the bass, as soon as music slows down, breaks through and crushes. But these are just my observations. The authors probably wanted the blackness and sulphur to breathe from the record and achieved it. The album is good to listen to nevertheless. It is aggressive, biting, but it also has an atmosphere that makes you feel fear and evil, blood and sweat, and the stench of hellish depths.

Peccatum Et Blasphemia is certainly not a complete album. It will not raise Kira to the thrones of hell, but it is certainly an album that can raise some interest in the band. After all, as the title of the first track says, this is just the opening of the gates of hell, and see for yourself the power of the flames bursting from the cover of the album.

Rating: 7.4 out of 10