As we expand, we also tend to endure backward in our timeline and recapture the older denseness we once had when publishing articles alluring to those most deeply interested in literati matters. It has been always a priority not to be bound by the commonly known standards imposed by today’s industry and venture furthermore toward other fields by enlightening our readers with many other cultural divergences besides just music.
With this been said, there is no better way than to reactivate this section with some worthy news regarding American death metal veterans Cannibal Corpse which are currently polishing the publishing of their very first and official, authorized biography.
The book will be entitled ‘Bible Of Butchery’ and has been written by Joel McIver, the same author of Metallica’s infamous ‘Justice For All: The Truth About Metallica’ book and other biographical pieces from Black Sabbath, Slayer, Slipknot and Queens Of The Stone Age. In which concerns to ‘Bible Of Butchery’, the book is said to include over 150 pages carefully illustrated with photographs taken from the band’s own collection throughout the years and its due for publishing around mid-September this year.
Back in 2012 in an article for The Quietus chronicles, writer Joel McIver has clearly shown his appreciation for some of the heavier sounds by mentioning Cannibal Corpse’s songwriting skills and the aggression in which the band kept pushing to the limits:
You’d be forgiven for assuming that songs such as ‘Fucked With A Knife’ and ‘Stripped, Raped, And Strangled’ came (at best) from spotty adolescent virgins or (at worst) violent psychopaths. The truth is that the members of Cannibal Corpse are neither: by and large, they are settled men in their forties with marriages, mortgages and families. They simply happen to be very good at telling horror stories that scare people because they’re about real people committing real atrocities, as opposed to those staple heavy metal inspirations, zombies and Satan.
These mesmerizingly aggressive songs may be unsettling, but they’re as legitimate a form of entertainment as any other extreme expression of creativity, whether it’s film, music or any version of the concrete and abstract arts. This is not to say that Cannibal Corpse’s expert brand of death metal has to be analyzed with an ironic eye, like some dickhead who has just discovered his first Lovecraft novel. You’re allowed to enjoy it. This is music which, if you so choose, will motivate you to leap off the sofa and climb the walls, shrieking like a fool. Or, if you prefer, turn the volume up to unsociable levels, sit back and immerse yourself in the annihilation of the senses, an all-enveloping perceptual blackout that resembles the flotation-tank experience in reverse. There’s plenty of evil fun to be had here, so embrace it. Thousands already have.
When it comes to the lyrics, it’s really time for us all to grow up and stop being so offended. Who is responsible for the horrific events which inspire Cannibal Corpse’s songwriting? Society itself, and it is you and I who make up society. You may be shocked by these songs, and rightly so — but there are real murders and real rapes aplenty out there out there in our lovely world. In comparison, such social ills reveal death metal’s true nature as a form of entertainment. Violent entertainment, but entertainment nonetheless, and it’s here to stay.
Joel McIver
Likewise, regarding Cannibal Corpse, they will be putting out a new studio record entitled ‘A Skeletal Domain’, on September 16th via Metal Blade Records. The remarkable novelty is that on this turn, they opted by working with Mark Lewis (better known for his work with The Black Dahlia Murder, DevilDriver) at Audiohammer Studios in Sanford, Florida.
