Cannibal Corpse, Violence Unimagined (Metal Blade 2021)

Death Metal icons Cannibal Corpse release their fifteenth studio album, expanding their canon and deepening their legacy.

The first album I heard from the band was their second one, Butchered At Birth (1991). Sure, I was drawn in by the cover art – the butcher on the right staring you straight in the eye is a compelling image – and I was glad I got the record after listening to it a few times. This was some of the earliest Death Metal that I had listened to, being usually drawn more toward thrash at the time. It made an impression. The music in recent years is quite a bit different, but there is no mistaking the importance of Cannibal Corpse to Death Metal and to heavy music in general. The band is now George “Corpsegrinder” Fisher (vocals), Erik Rutan (guitar), Rob Barrett (guitar), Alex Webster (bass), and Paul Mazurkiewicz (drums).

There are eleven roaring tracks on the new album. “Murderous Rampage” is the opener and it sets a high bar with its blistering velocity and skull-smashing riffs. Fisher sounds as ferocious as ever and the guitars give a little nostalgic twist here and there. “Necrogenic Resurrection” ratchets up the angst and offers destabilizing tempo shift before a lead break that is delivered at top speed. “Inhumane Harvest” starts with a whirl and by now I know I am getting exactly what I was hoping for with the new album.

The music is heavy and coarse Death Metal all the way through with a surprisingly deep maneuvering of perspective and noticeable tone shifts. “Ritual Annihilation” stands apart for me, if I had to pick a single track, because it delivers my ideal of the music I think of when the name Cannibal Corpse comes up. The entire set is rock solid and will enter the list of the band’s releases in a high slot. Recommended.

Violence Unimagined is out now. There are many variants and enticing merch. Hit any link below and you’ll get there.

Live photo by Wayne Edwards, 2019 at Higher Ground in Burlington, Vermont.




Metal Blade,

Cannibal Corpse, Violence Unimagined (Metal Blade 2021)

Happy New Year’s Eve 2020

I don’t have to tell you about 2020 – you were there, too. Usually, at the end of the year, I spend December choosing some photos to repost for good vibes and great memories, but this year I didn’t take a single photograph of a live show. Yeah. So, I am going to post a few photos from 2019 that did not see that light of day then, just for fun. I am keeping the cameras warm for 2021 because hope springs eternal.

There was a lot of excellent music released this year. We published 188 reviews in 2020, a lot more than we thought we would. There are so many “Best of 2020” lists out there that I decided not to do one for FFMB. Instead, I am throwing up a couple of covers from albums we didn’t review this year that were really good – just couldn’t get to everything. We’ll try to do better in 2021.

Thanks to everybody involved with Flying Fiddlesticks Music Blog and the Shardik Media Cabal. Deep gratitude and thanks to all the bands, record labels, venues, publicists, and promoters keeping music alive for all of us.

We’re still here and we are carrying on in 2021. See you out there.

All live performance photos by Wayne Edwards.


Heavy Montreal



Happy New Year’s Eve 2020

2019 in Review, Final Gallery, Days 26-31

Marilyn Manson at Aftershock
Marilyn Manson and Brandon Pertzborn at Aftershock
Marilyn Manson at Aftershock
Paul Wiley and Marilyn Manson at Aftershock
Juan Alderete and Marilyn Manson at Aftershock
Health at Aftershock
Adam Jones and Tool at Aftershock
Maynard Jones Keenan and Tool at Aftershock
Danny Carey and Tool at Aftershock
Randy Blythe and Lamb of God at Aftershock
Willie Adler and Lamb of God at Aftershock
Mark Morton and Lamb of God at Aftershock
John Campbell and Lamb of God at Aftershock
Art Cruz, Randy Blythe, and Lamb of God at Aftershock
Amythyst Kiah at Bourbon and Beyond
Beast In Black at Heavy Montreal
Brkn Love at Aftershock
Cannibal Corpse at Higher Ground (Burlington, VT)
Ho99o9 at Aftershock
Pussy Riot at Sonic Temple
Geezer Butler and Deadland Ritual at Aftershock

All photos by Wayne Edwards.

2019 in Review, Final Gallery, Days 26-31

Cannibal Corpse, Thy Art Is Murder, and Perdition Temple at Higher Ground in Burlington, Vermont, Concert Review

Cannibal Corpse rolled into South Burlington, Vermont Sunday night on their Red Before Black Tour. Their show at Higher Ground was a Fall highlight for North Country Metalheads looking for a night of extreme music.

Perdition Temple

The opening band was Perdition Temple, a three-piece Death Metal act featuring Gene Palubicki on guitar and vocals with Ronnie Parmer on drums and Alex Blume working the bass. Fast and aggressive, the riff-heavy, driving guitar broke the ice and set the tone for evening. Palubicki’s coarse voice and precision fretting filled the room with energy and threat. Wrapping up a tight 30 minutes in a blistering frenzy, Perdition Temple surely made the list for a lot of new fans in the audience.

Perdition Temple

The middle act was Thy Art Is Murder, an Australian band whose music is usually placed in the deathcore category. I heard many fans in the crowd saying they’d come specifically to see Thy Art Is Murder and that didn’t surprise me at all – they have a big following and they don’t tour the US all the time. The band puts up a powerful wall of sound with two guitars via Andy Marsh and Sean Delander that surround frontman CJ McMahon. The bass backing by Kevin Butler and clinical drumming by Jesse Beahler complete the scene.

Thy Art Is Murder

CJ McMahon was suffering from a respiratory infection which caused him obvious discomfort but his performance didn’t seem to suffer at all. Leaning into material from their new album Human Target (Nuclear Blast), Thy Art Is Murder shook the room and played to their strengths, not neglecting fan favorites. In fact, the only time the crowd was actually singing punchlines was during the Thy Art Is Murder set. McMahon talked the crowd into greater participation by reflecting on how wild the show in Montreal the night before had been. Burlington, he told us, was great, but Montreal was unmatchable. The circle pits were going in force, presaging the vortex they would become with the headliner. There were no disappointments with their solid heavy work.

Thy Art Is Murder
Thy Art Is Murder

The main event was Cannibal Corpse, rounding out the tail end of their Red Before Black (Metal Blade) tour. Standing in the pit in the dark after the band had taken the stage but before they began playing, I could see vocalist George Fisher, Corpsegrinder. He stood with his back to the crowd taking deep, fierce breaths, filling his lungs to ready himself for the auditory assault he and the band were about to perpetrate. Hit the lights, hit the sound, and the crowd erupted to “Code of the Slashers.” Moshing started almost immediately and within a few minutes, an enormous circle pit had formed in the Higher Ground Ballroom with a pulsing jagged edge. Metal was happening.

Cannibal Corpse

The band lead with three songs from the latest album then took a tour through their long catalogue of music. Rob Barrett and Erik Rutan brought the riffs and shreds with veteran accuracy while founding members Alex Webster and Paul Mazurkiewicz steadied the songs with an unbreachable foundation. Fisher did not disappoint with his signature hair whipping head snaps, his face completely covered by the result when he sang. This is a band that never makes any excuses and always delivers the fury.

Cannibal Corpse
Cannibal Corpse

Never slowing down, Cannibal Corpse announced in October that they would begin working on a new album, their 15th full-length release, as soon as the current tour wraps up. See the show while you can. Cannibal Corpse, Thy Art Is Murder, and Perdition Temple is a great lineup. They are three bands that complement each other by employing similar musical themes while maintaining unique identities and performance styles.

Cannibal Corpse

Cannibal Corpse, Thy Art Is Murder, and Perdition Temple at Higher Ground in Burlington, Vermont, Concert Review