Where does one begin when reviewing a band as legendary as Carcass? They are, without doubt, one of my favourite bands of all time. “influential” doesn’t even begin to cover it. This is a band that spawned Goregrind as a genre, launched at least three dozen clone-bands, made the best death metal album of all time in “Necroticism” (don’t even @ me, bro), created Melodic Death Metal and one of the most maligned records of all time in the still-excellent “Swansong”. Their comeback album, “Surgical Steel” was released way back in 2013, and so, eight whole years after that point comes “Torn Arteries”.
Joining original members Jeff Walker and Bill Steer (vocals and bass, guitars), are the return of drummer Dan Wilding and Tom Draper on the axe. Title track and opener “Torn Arteries” does exactly what is says on the tin; a classic Carcass opener in the vein (sic) of Impropogation and Buried Dreams – setting the blue print for the rest of the album. A dash of old-school mid-pace menace, some melodic chops and more than a little rock swagger. “Dance of Ixtab” follows, itself hearkening back to the free and easy death n’ roll of Swansong, except with more bite. The duelling guitars dizzying themselves against the insistent pulse of the rhythm section, while Jeff delivers his lines with trademark venom.
“Eleanor Rigor Mortis” (fantastic title!) springs from the speakers next initially with a furious flurry of six-string soloing, then settling into a palm-muted chug. Those minor key melodies wrap themselves around the backbone of the song, a surly stomper. “Under the Scalpel Blade” has that frantic blasting quality that permeated the now-ancient “Tools of the Trade” album, until the macabre, almost sludge-like main riff arrives. We also see the return of the duel-vocals, Bill’s pitch-shifted rumble contrasting with Jeff’s sharp, hoarse shrieking. “The Devil Rides Out” is perhaps the most blues-influenced song that Carcass have ever written. Don’t be expecting some kind of Muddy Waters-esque affair – this is still death metal – but the guitar solo and the chord progression definitely owes a little to the classic beginnings of rock music.
“Flesh Ripping Sonic Torment Limited” is not only a nice nod to old-school Carcass fans (as is the album title; originally from a demo title that ex-drummer Ken Owen thought up), but a real throw back to the way that Carcass wrote and played songs on Necroticism. Not only is this an absolute beast at over 9 minutes in length, but it also has a fantastic complex arrangement, and has more effortlessly brilliant riffs than the last three Morbid Angel albums combined. The songwriting here has more twists than a Chubby Checker tribute band. “Kelly’s Meat Emporium” has an addictive drum intro (hi there, remember “Ruptured in Purulence”?), before launching into a song that wouldn’t have sounded out of place as one of the quicker songs from “Heartwork”.
“In God We Trust” has a truly martial marching tempo, but with a huge lurching mid-section that throws the expected out of the window. “Wake up and smell the Carcass – Caveat Emptor” really does have some inventive moments, as with the strange choral sounding guitars towards the end of the song, and some truly impressive musical moments. Not to put anyone off, but the outro section of the song sounds like prime Megadeth – all technical playing and nifty six-string acrobatics. The song title also prompted a huge smile in me, tipping its hat as it does to 1996’s rarities and live songs compilation – a release I bought on CD, VHS and DVD. Remember physical media, kids? Album closer “The Scythe’s Remorseless Swing” serves as Carcass’ “Hells Bells” moment, but in reverse. With the tolling of a bell and a slow, relentless build up, this closes the show rather than opens it, but again does so while oozing class.
What do we have then? A Carcass album that pays due respect to its own history, but spends rather more time being of its own time and forging ahead with an evolving sound. It’s a tricky thing to do – how does a classic band manage to keep enough connection to the past, but not slip into self-parody? Other bands should take note. “Torn Arteries” is peerless for me so far this year. Only a true work of genius is going to prevent this from being my album of the year.
(9/10 Chris Davison)
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