CANNIBAL CORPSE The Bleeding (Metal Blade, 1994)
I first discovered CANNIBAL CORPSE when a friend in high school let me borrow “Butchered at Birth” and “Tomb of the Mutilated.” I was a still green metal head at the time, so I didn’t like the vocals. The lyrics were a bit much, too, although it was like driving by a car accident. I knew it was wrong but was still curious.
Fast forward a couple years later and a friend let me borrow “The Bleeding.” At this time, my ears were more accustomed to death metal growls, not to mention I could understand Chris Barnes. The lyrics create the ultimate serial killer album—rape, torture, murder all bundled up with catchy chorus lines (something missing on their previous albums).
Musically, “The Bleeding” is solid, too. From tempo changes to Alex Webster’s bass sound, to Paul Mazurkiewicz’s bludgeoning drums or the horror-movie sound of the guitars (listen to the title track) “The Bleeding” is both complex and brutal. “Striped, Raped and Strangled” is a classic CC song that is expected on their live show. Chris Barnes‘s chorus line is so dark yet memorable.
While “Tomb of the Mutilated” is slightly better instrumentally, “The Bleeding” was easier to get into due to its “commercial” sensibilities. There is a reason CANNIBAL CORPSE are the biggest name in Death Metal. All hail the GOAT!
MORBID ANGEL “Covenant” (Earache, 1993)
If CANNIBAL CORPSE is the most popular Death Metal band, MORBID ANGEL comes in second. The talent in MORBID ANGEL is off the charts. One reason MA is so revered is longevity. The group started in the ‘80s and rose to prominence in the 90s. “Covenant” was the album that brought them into semi-mainstream waters. There is only so far a Satanic band can go in the media. And Satanic precisely describes the lyrics on this album. From the Faustian cover to the Devil woodcut on the back, one look at “Covenant” reveals this is Devil Music, of the scariest kind.
In 11th grade I woke up from a nightmare. On Michigan State University’s metal show, “The Hours of Power” were playing “God of Emptiness.” David Vincent’s dark, clean vocals demanded “Bow to me faithfully.” Next came their video for “Rapture” on MTV’s Headbanger’s Ball. From Trey Azagthoth’s intricate-yet-heavy riffs to Vincent’s growls to Pete Sandoval’s blazing kick drums, it was obvious that these guys were near the top of the Death Metal mountain. These two songs are my favorites on the album, but the rest of the album rules, too, from the doomy dirge of “World of Shit (The Promised Land)” to the barbaric themes of “Lions Den,” “Covenant” commanded my attention. Rock ‘n Roll never sounded so evil!
SUFFOCATION “Pierced from Within” (Roadrunner, 1995)
As popular as the top two bands are, I believe SUFFOCATION is the most influential band in the sub-genre. Frank Mullen’s voice is abysically low and their down tempos inspired Death Metal styles such as Slam and Deathcore, yet with speed and intricacies that are rarely emulated.
Just like the first two albums, “Pierced from Within” is a more accessible album in that Mullen’s voice is easier to understand than “Effigy of the Forgotten” (which is great in its own right). Just like “The Bleeding” there are serial killer themes like the axe-dismembering “Thrones of Blood.” Instrumentally, guitarist Terrance Hobbs creates razor-blade sharp rhythms and mind-blowing solos. Original drummer Mike Smith does not appear on the album. Doug Bohn had no problem filling his shoes, though. Bohn hyper blasts with unabandon.
Death Metal never sounded so brutal. SUFFOCATION are the champions of brutality and “Pierced from Within” is a classic that will never fade.
UNLEASHED “Where No Life Dwells” (Century Media, 1991)
ENTOMB’s “Left Hand Path” is often cited as the best Swedish Death Metal album, but for my money, Unleashed’s first album, “Where No Life Dwells” is the best from their countrymen. Riffs galore, gallops, screams and Viking-related lyrics make “Where No Life Dwells” a standout album. Before AMON AMARTH, there was a Death Metal band from Sweden writings lyrics about Viking concepts. Fans experience the Viking way when vocalist/bassist Johnny Hedlund gives audience members his beer horn to bong a brew.
Listen to the gallops on “Into Glory Ride” and “Before Creation of Time.” When one adds groove and doomy dirges to the mix, one can hear the AUTOPSY influence, which makes it bad ass in its own right. Sure, GRAVE, DISMEMBER and ENTOMBED all released excellent first albums, but for me, UNLEASHED’s first record leads the pack.
ENTOMBED “Left Hand Path” (Earache, 1990)
NIHILIST was possibly the first Swedish Death Metal band, but it took their breaking up and reforming as ENTOMBED (UNLEASHED’S Hedlund formed UNLEASHED) to truly make an impact. ENTOMBED’s first album, “Left Hand Path” was the album that paved the way for Swedes to play Death Metal.
What you need to know about “Left Hand Path” was the chainsaw dismembering riffs made possible by a HM2 pedal. The distortion is some of the best in the genre. Much of the instrumentation is like Unleashed’s “Where No Life Dwells,” from down beats to groove or just vicious speed. One will find similarities in other bands from the scene such as DISMEMBER and GRAVE. Swedish Death Metal owes its existence to “Left Hand Path.”
MACABRE “Sinister Slaughter” (Nuclear Blast, 1993)
MACABRE a top ten Death Metal band? Damn straight. Fans and journalists praise big names like DEICIDE, OBITUARY, DEATH, etc., and MACABRE is never in the conversation, but will gush when you bring up their name. Maybe it’s the fact they’re not from Stockholm, Sweden or Tampa, Florida, MACABRE hails from the cold confines of Chicago, Illinois. The midwestern part of America doesn’t get enough credit for its Death Metal scene, and at the top of this scene is MACABRE.
To say “scene” doesn’t really apply to MACABRE because they play their own blend of Death Metal called “Murder Metal.” Murder Metal is Death Metal at its core, musically and lyrically, but MACABRE finds the right style for each song about serial killers. Their obsession with serial killers is both brutal and funny. Just look at the cover art for “Sinister Slaughter.” They used the BEATLES’s “Sargent Pepper” cover art, took out all the people on the cover and inserted serial killers in multiple poses. It’s quite hilarious…if you’re sick in the head!
Not just the genres explored on “Sinister Slaughter” makes the album great, it’s how they execute and insert their own sound. Starting in the mid-80s, MACABRE found their style early and only progressed from there. “Sinister Slaughter” contains songs about such vile murderers as John Wayne Gacy, Ted Bundy, Albert Fish, The Zodiac killer and many more. A rip about Richard Remirez saying “Swear to Satan” on “The Nightstalker” before blasting a chick with a gun, which leads into stompin’ heavy death riffs and growls. Very evil song. “Vampire of Düsseldorf” may be the best song of their career with its old timey, tavern sound and catchy, blood-n-cum soaked lyrics.
“Sinister Slaughter” is easily a top Death Metal album.
DEATH “Scream Bloody Gore” (Combat, 1987)
“Scream Bloody Gore” was a game changing album in so many ways. While POSSESSED coined the term “Death Metal,” DEATH defined the sound. “Scream Bloody Gore” was the first true album as POSSESSED were stylistically more of a Thrash band. DEATH borrowed a lot from POSSESSED, from the vocals to the logo, but made it their own brand of unmatched brutality and intricate skill, not to mention laying down the blueprints for Florida to follow.
“Evil Dead” and the title track are two of the most memorable tracks on “Scream Bloody Gore.” “Evil Dead” refers to the title of the movie and explores the demonic presence of the dreaded Necronomicon ex Mortis. The opening riff is classic heavy metal, ala JUDAS PRIEST/IRON MAIDEN. Thrashing speed supports their evil chorus lines via Chuck Schuldiner.
While DEATH steadily became more complex and progressive, “Scream Bloody Gore” will always stand out as a pioneering lesson in violence.
DEICIDE “Self-titled” (Road Runner, 1990)
It’s weird that Euronymous of MAYHEM hated DEICIDE (and Death Metal in general) since he was so into evil. The second wave of Black Metal was in its infancy in 1990, and DEICIDE was the darkest band on the planet in 1990. Bassist/vocalist Glen Benton went as far as burning an inverted cross into his forehead.
DEICIDE pulled no punches when it came to being evil on this debut. The vocals range from deep growls to hellish shrieks to pitch-shifted voices. This album is another speedster via the guitar section of the Hoffman brothers and drummer Steve Asheim. “Lunatic of God’s Creation” is a psychotic romp. Just like DEATH releasing “Evil Dead,” DEICIDE told their own story of the classic horror film with “Dead By Dawn,” which could summon malevolent forces through the cracks of Hell. No top ten Death Metal list would be complete without DEICIDE, and their self-titled album is an infernal masterpiece.
IMMOLATION “Here In After” (Metal Blade, 1996)
IMMOLATION is another band who doesn’t receive the accolades they deserve. Along with SUFFOCATION, IMMOLATION is one of the leaders in America’s Northeast region. The group’s sophomore album proved a defining record in the band’s discography. Just like DEICIDE’S self-titled and MORBID ANGEL’s “COVENANT,” “Here in After” thrives on blasphemy. Paradise is an after thought on tracks like “Nailed to Gold” and the title track.
IMMOLATION is another band who differentiates itself from the gargle, gargle crowd. At its core stands guitarist Robert Vigna. While pinch harmonics aren’t a novel idea in Death Metal, Vigna’s axe-chopping style takes this technique to another level. Vocalist Ross Dolan has a vicious snarl, but not too guttural to the point where his vocals are easy to understand. “Here in the After” was released thirty years ago, which helped build the band’s foundation, which in time would result in the band becoming one of the most prolific artists in the genre.
PESTILENCE “Consvming Impvlse” (R/C, 1989)
Writing a top ten Death Metal list is a daunting task considering the immense number of bands. Sweden and the U.S.A. dominate the list, but it wouldn’t be complete without a band from The Netherlands. PESTILENCE is one of the earliest and most revered bands in their country. Their second full-length, “Consvming Impvlse” is a lesson on how to create memorable riffs. Like many early Death Metal recordings, “Consvming Impvlse” is rooted in Thrash Metal.
“Suspended Animation” and “Defy Thy Master” contain some of the genre’s best riffs. “Dehydrated” showcases vocalist/bassist Martin Van Drunen’s throat-shredding venomous vocal attack. Van Drunen’s voice is a variation of high range singers on this list like Johnny Hedlund of UNLEASHED, Chuck Schuldiner of DEATH and John Tardy of OBITUARY. Van Drunen’s lyrics are not too difficult to understand, and those tones are on a plane of its own. “Consvming Implvse” is an album every Death head should own.
Honorable Mentions:
CANNIBAL CORPSE “Tomb of the Mutilated,” GRAVE “Into the Grave,” DISMEMBER “Indecent and Obscene” “OBITUARY “Cause of Death,” MORBID ANGEL “Altars of Madness,” DEATH “Leprosy,” POSSESED “Seven Churches,” AUTOPSY “Mental Funeral,” ASPHYX “Crush the Cenotaph,” CARCASS “Symphonies of Sickness”