{"id":4630,"date":"2012-03-13T00:00:18","date_gmt":"2012-03-13T00:00:18","guid":{"rendered":"http:\/\/www.metalforcesmagazine.com\/site\/?p=4630"},"modified":"2013-06-12T23:55:15","modified_gmt":"2013-06-12T23:55:15","slug":"feature-cannibal-corpse-03-12","status":"publish","type":"post","link":"https:\/\/www.metalforcesmagazine.com\/site\/feature-cannibal-corpse-03-12\/","title":{"rendered":"CANNIBAL CORPSE – Demented Aggression (March 2012) | Features \/ Interviews @ Metal Forces Magazine"},"content":{"rendered":"

CANNIBAL CORPSE – Demented Aggression<\/strong><\/span>
\nAnthony Morgan<\/span>
\nMarch 2012<\/span><\/p>\n

\n\n\n
<\/td>\n\n
<\/p>\n\n\n
\n
Cannibal Corpse (l-r): Alex Webster, Rob Barrett, George Fisher, Patrick O\u2019Brien
and Paul Mazurkiewicz<\/em><\/strong><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

Cannibal Corpse studio full-lengths ten to 12 \u2013 namely Kill<\/em> (March 2006), Evisceration Plague<\/em><\/a> (February 2009), and Torture<\/em><\/a> (March 2012) \u2013 equally share a common trait, specifically the line-up involved: co-founders Alex Webster and Paul Mazurkiewicz occupying bass and drums respectively, George \u2018Corpsegrinder\u2019 Fisher supplying vocals, Pat O\u2019Brien handling lead guitar, and Rob Barrett performing rhythm guitar. Arguably, this has allowed the outfit\u2019s chemistry to improve as musicians and songwriters.<\/p>\n

\u201cReally when it comes to the songwriting aspect, exactly,\u201d confirms Paul Mazurkiewicz, drummer and co-founder of Cannibal Corpse. \u201cI do believe that we have the best line-up we\u2019ve had ever, and that\u2019s why it\u2019s been this way for so long. Torture<\/em> is our third album with Rob in the band, and of course Pat and George have been in the band as long as they have. It just seems like there\u2019s continuity and it\u2019s been gelling better than it ever has, and that is key. I truly believe having that longevity and that staying power that we\u2019ve had is due to the stable line-up.\u201d<\/p>\n

Torture<\/em> includes five numbers musically authored by Alex (\u2018Scourge Of Iron\u2019, \u2018Intestinal Crank\u2019, \u2018The Strangulation Chair\u2019, \u2018Crucifier Avenged\u2019, and \u2018Rabid\u2019), four by Pat (\u2018Demented Aggression\u2019, \u2018As Deep As The Knife Will Go\u2019, \u2018Followed Home Then Killed\u2019, and \u2018Torn Through\u2019), and three by Rob (\u2018Sarcophagic Frenzy\u2019, \u2018Encased In Concrete\u2019, and \u2018Caged… Contorted\u2019), possibly lending the outing a greater diversity.<\/p>\n

Penning and recording Torture<\/em> \u201cwas a lot of fun,\u201d remembers the sticksman. \u201cWe just stepped it up. Having Pat write four songs, Rob writing three songs, and Alex writing five, it was a little more diverse. That always helps of course, to have somebody else writing moreso than just one guy. You can always be diverse as a writer with your own style, but when you have two other great songwriters writing as well then it\u2019s gonna be more diverse in that department. I think when you write a song, you\u2019re always gonna try to write something different than your last song and those three guys are no exception. That definitely makes it a more diverse record of course. Having Rob come into his own and writing the best songs he\u2019s ever written for Cannibal Corpse… I mean, that\u2019s huge. He\u2019s written some great ones as well on every album that he\u2019s been on. <\/p>\n

\u201cEven when Jack was in the band, Jack wrote some great stuff too. It\u2019s great that somebody like Rob can come in, and write some great stuff as well. Pat writes great songs too, but these were a little different for Pat. Songs like \u2018As Deep As The Knife Will Go\u2019 and \u2018Followed Home Then Killed\u2019 are a little different for Pat. It\u2019s good to see though, because I think those songs turned out just phenomenal. Pat\u2019s been in the band as long as he has, and he\u2019s written three really great songs for Torture. That\u2019s a great thing, to have everybody contribute. Yeah, having all three guys contribute and all of their songs being different than the last one that they wrote is huge. It was a big deal.<\/p>\n

\u201cI think that\u2019s always been our plan; our idea has always been to try to write some different songs, with not everything sounding the same. Some of them might sound similar here and there from album to album though because we\u2019re not doing anything extremely different. We\u2019re brutal, in-your-face death metal is the way we look at it, but we always really try to write different songs. For some reason though, I think the older we\u2019re getting the more mature we\u2019re getting, and the better we\u2019re getting at our instruments and our songwriting abilities. I don\u2019t know what it is, but we just seem to be taking on a whole new life. We\u2019re arguably writing better than we ever have, so it\u2019s really hard to say why. Like I said, I think we always try to be diverse in any way possible. We don\u2019t want everything to sound the same, and that\u2019s probably been the reason for our longevity as well. We are able to mix it up, and we\u2019ve been doing it for years.\u201d<\/p>\n

\n\n\n
\n
<\/p>\n\n\n
\n
Paul Mazurkiewicz<\/em><\/b><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

\u201cWe really got into it right away actually though; we weren\u2019t even done with the Evisceration Plague<\/em> tour towards the end of 2010, and actually Pat started writing and he wrote two songs \u2013 I think it was during the tour we did in October 2010. We had these songs done before we even went on the road, which is very rare for us. We were already getting excited to wanna start creating a new record, and when we got home from that we had his two songs. <\/p>\n

\u201cWe kinda hit harder on it on January 1st, 2011, but man, everything just seemed to step up in a lot of departments. We worked really hard; Pat and Rob really wrote the best songs they\u2019ve ever written in Cannibal Corpse like I said, and I worked really hard on doing the best that I could do to step things up of course. Alex does a great job always, and he wrote some great songs. It was just a lot of writing of course throughout the whole year, and just trying to come up with what we think are some great songs. I think we came up with some great, diverse Cannibal Corpse stuff, and a little bit of old school sounding with new school. Overall, I think it\u2019s a great record. We just worked hard at writing as soon as we could, hit the studio in September, recorded for a couple of months, and now here we are.\u201d<\/p>\n

Such feelings would suggest Cannibal Corpse is like a fine wine, becoming greater with age. \u201cI think so, the way it\u2019s going with Cannibal Corpse,\u201d Paul muses. \u201cJust look at our last three records; Kill<\/em> and then Evisceration Plague<\/em>, and now this one. We\u2019re doing better than we ever have, selling more records, and I really believe writing better and playing better. I guess Cannibal Corpse must be like a fine wine, yeah.\u201d<\/p>\n

Certain hallmarks arguably define the songwriting tendencies of Alex, Pat, and Rob. \u201cI think so,\u201d the co-founder reckons. \u201cI think a lot of times it\u2019s apparent who wrote what. Pat has his own style… It\u2019s a little tougher maybe on the new album, because of songs like \u2018As Deep As The Knife Will Go\u2019 and \u2018Followed Home Then Killed\u2019. Some of the parts don\u2019t sound like Pat, but with the main riffing on \u2018Followed Home Then Killed\u2019 you realise that it was written by him. Three of them have a distinct style of writing, and that\u2019s great. You have to have that distinction in the style of writing that separates it where one guy isn\u2019t sounding like the other guy, but to me it\u2019s apparent. I\u2019ve been around them long enough and I know how they play, but I would think that the Cannibal Corpse fans would figure those things out too for the most part. Maybe it\u2019s not always apparent, but for the most part you can hear who\u2019s writing what.<\/p>\n

\u201cPat is very note-y of course with very crazy, fast guitar parts. Songs like \u2018Frantic Disembowelment\u2019, \u2018Dead Human Collection\u2019, \u2018Make Them Suffer\u2019 and \u2018To Decompose\u2019, I think it\u2019s apparent those are Pat\u2019s in the way the riffing works. Alex writes note-y stuff as well, but it just seems like it\u2019s not as crazy in the playing department and the timings might be a lot more different. Alex really likes to delve into that, where the time signatures are changing or are different than on the last song and doing a lot of mathematics. A song like \u2018Intestinal Crank\u2019 or \u2018Unnatural\u2019 or \u2018Rabid\u2019, those songs I think are Alex\u2019s just in the way the riffs are put together. To me Rob just always had more of a thrashy feel to his songs to where his riffs go, a little bit of a more old school feel.\u201d<\/p>\n

Alex being a bass player as opposed to a guitarist perhaps lends his songwriting different idiosyncrasies. \u201cYou\u2019re gonna have a different approach of course if you\u2019re a bass player, and not a guitar player,\u201d Paul concurs. \u201cOf course Alex is knowledgeable in the way of guitarists where he can write on bass and knows what it might sound like on guitar, and already knows in his head what bass line he might have. He\u2019s a veteran in that way, but I think you\u2019re always gonna look at it a little bit different just because you\u2019re playing a different instrument. At the same time though, you can write a lot on bass. I don\u2019t how much different it would be if Alex was a guitar player. Maybe his writing would still be different, or it would be more like Pat\u2019s. A lot of parts written on guitar would be very hard to play on bass. I\u2019m sure the fact that Alex is a bass player means he writes a little bit differently than if he was a guitar player, but who knows? You never know.\u201d<\/p>\n

\n\n\n
<\/td>\n\n
<\/p>\n\n\n
\n
George \u2018Corpsegrinder\u2019 Fisher<\/b><\/em><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

Previously helming both Kill<\/em> and Evisceration Plague<\/em>, Hate Eternal frontman Erik Rutan once again spearheaded production duties though recording was split between Texas\u2019 Sonic Ranch and St. Petersburg, Florida\u2019s Mana Studios. \u201cWe thought Erik did a great job with Evisceration Plague and with Kill, so we wanted to use him again,\u201d the drummer explains. \u201cThere was really no talk about using anybody else; we knew we wanted to use him. The only thing we wanted different was to utilise a different studio, which is what we did. The first step was going to Sonic Ranch in Texas, which is where we did Bloodthirst<\/em> (October 1999), Gore Obsessed<\/em> (February 2002), and The Wretched Spawn<\/em> (February 2004). We brought Erik over there, so we did the first half of the record at Sonic Ranch. We loved it, and wanted to go back. Doing two at Erik\u2019s was great but it was time for a change, time for a mix-up. We don\u2019t want to get just caught in the same routine of driving to the studio every day for over an hour and that kinda thing, so we felt it would be easier and better for us to go out for at least the first month to do the basic tracking over there where we could live on the grounds and concentrate fully on the record. It was great, and we finished off of course at Mana Studios in St. Petersburg. We did the solos, the singing, and the mix and all that in St. Petersburg where we had done the last two. Yeah, we wanted to use Erik again. Like I said, he did a great job on the last two and we knew he could do a better job on this one.<\/p>\n

\u201cHe\u2019s just a workaholic, and that\u2019s a great thing. He loves to push, and loves to get the best out of you. He knows what he wants; he\u2019s a very demanding guy, and he\u2019s a great guy on top of that of course. We\u2019ve known him for years and he\u2019s a friend of ours, but we work as a team \u2013 you have to. We\u2019ve done that with all of our producers; we\u2019ve never had a producer just kinda come in and tell us what\u2019s going on, or tell us \u2018This is the way it\u2019s going to be.\u2019 We\u2019ve always had our producers working with the band, and especially moreso now than in the past. We\u2019ve done it. We\u2019ve been in the studio; we know what we want and what to expect, and all that thing. You really need somebody that\u2019s gonna work with you, and Erik does a great job of that.\u201d<\/p>\n

Musical challenges awaited the musicians involved in Torture<\/em>, as ever. \u201cFor me personally, just a lot of the fast stuff challenged me,\u201d Paul discloses. \u201cThe song \u2018Torn Through\u2019 is very uptempo; the tempo is pretty high for that, and it\u2019s also challenging because it\u2019s a very demanding song throughout. \u2018As Deep As The Knife Will Go\u2019 has a lot of double-bass and a lot of blasts, so that\u2019s always a challenge. With some of Alex\u2019s songs, it\u2019s just learning the patterns \u2013 it\u2019s not like hitting 4\/4. A song like \u2018Scourge Of Iron\u2019, the whole pedal part and the pattern shifts. A song like \u2018The Strangulation Chair\u2019 with all the parts in the beginning, and the way the drum pattern goes. Very challenging. For the most part though everything on the record was very challenging, and that\u2019s the way you want it \u2013 you want to be able to step it up. You know you\u2019re eventually gonna be able to play it but it makes it worth getting to that point, and I know those guys always have the same thing going on when they play their parts. Everybody writes different, so usually Pat will always tell you his songs are hard for him to play. He tries to do something he doesn\u2019t normally do, and tries to push himself to where it\u2019s hard even for him \u2013 Alex and Rob are the same way. Everything came together, and the challenging parts we worked a little extra hard at. Eventually we got them following repetition, and over time. That\u2019s the way it is, but there\u2019s always gonna be some challenging stuff for everybody on every album.\u201d<\/p>\n

The sticksman feels that Torture has the \u2018frenzied attack of Butchered At Birth<\/em> (July 1991) or Tomb Of The Mutilated<\/em> (September 1992).\u2019 \u201cIt\u2019s just the primal aggression I think from the beginning of the band,\u201d he clarifies. \u201cSongs like \u2018Demented Aggression\u2019, \u2018Encased In Concrete\u2019, \u2018Rabid\u2019, and \u2018Intestinal Crank\u2019 in the speed that we\u2019re hitting and the brutality reminds me a lot more of what we did in the old days of Cannibal. We seemed to stray away from certain things that we\u2019ve done a lot. Not always, but it was mostly really the key. A lot of the beats we were doing, they got a little more controlled in the latter years. We really made an effort to pump it up a little bit, and tried to have that fury that we had back in the old days. Songs like that remind me of the old days.\u201d<\/p>\n

\n\n\n
\n
<\/p>\n\n\n
\n
Alex Webster<\/em><\/b><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

The flavour of more recent Cannibal Corpse material is represented on Torture<\/em> as well. \u201cEven though it\u2019s got the primal aggression, the timings and so on in \u2018Intestinal Crank\u2019 remind me more of our newer songs,\u201d Paul suggests. \u201cEven though it has a simplistic riff and all that, \u2018Scourge Of Iron\u2019 is very basic and driving. A lot of that with the whole middle part where there\u2019s a lot more thought going into the song at that point, that reminds me of the newer Cannibal style. Maybe a song like \u2018The Strangulation Chair\u2019 is something a little different than we normally do, and maybe sounds a little bit more like the newer style of Cannibal with a lot of craziness happening and the bass guitar from Alex. Those songs in particular I think are the newer style of songs that we have on Torture.\u201d<\/p>\n

The co-founder assisted Rob by devising the lyrics for \u2018Encased In Concrete\u2019, as well as aiding Pat by composing the lyrics for \u2018Demented Aggression\u2019, \u2018Followed Home Then Killed\u2019, \u2018As Deep As The Knife Will Go\u2019, and \u2018Torn Through\u2019. Rob wrote the lyrics for \u2018Sarcophagic Frenzy\u2019 and \u2018Caged… Contorted\u2019 himself, Alex doing the same for his respective tracks. \u201cAll of the song titles on Torture are self-explanatory for the most part, but not all of them maybe,\u201d Paul observes. \u201cI mean, the songs that I wrote are pretty self-explanatory. You can pretty much get what \u2018Encased In Concrete\u2019 is about; it\u2019s one of those typical Cannibal titles where you know what it\u2019s about. It\u2019s about somebody slowly being tortured that way and getting encased in concrete, so that\u2019s pretty basic. \u2018Followed Home Then Killed\u2019 you can kinda figure out I guess \u2013 you should. You will do (laughs). It\u2019s more of a stalker song. I was inspired by early 80s horror movies. Entering the house and stalking someone, and killing them in the comfort of their own homes \u2013 that\u2019s pretty self-explanatory. <\/p>\n

\u201c\u2018As Deep As The Knife Will Go\u2019 is kind of self-explanatory as well, maybe more of a meeting of… you know it\u2019s about a knife, and you know it\u2019s about somebody stabbing somebody and taking that knife as far as it will go. I thought of the knife as being what makes somebody kill, not per se the killer. The way I look at it is somebody picks up a knife, and that knife really makes them do this. They\u2019ve never killed before in their life and they do something with that knife that they didn\u2019t think they\u2019d ever do, and they like it. That\u2019s what that song is about, and \u2018Torn Through\u2019 \u2013 the other one I wrote \u2013 is obviously a little more vague. You know it obviously sounds violent, and someone is torn through \u2013 something happens to somebody. I pretty much wrote that as a revenge song, about somebody drastically and brutally getting torn through the head. <\/p>\n

\u201cThat\u2019s a basic kill song I guess for Cannibal and for my style, but the other guys\u2019 songs… \u2018Sarcophagic Frenzy\u2019, that\u2019s our zombie song and Rob wrote that. \u2018Caged… Contorted\u2019 is another one that Rob wrote, which is kind of self-explanatory. I\u2019m not sure what the lyrics are fully about, but you get the gist. Somebody\u2019s being locked up in a cage, and they\u2019re twisted in the thing. Alex wrote \u2018Scourge Of Iron\u2019 \u2013 a little bit more of a battle kind of song \u2013 and \u2018Rabid\u2019 being more of a serial killer kind of song. \u2018Intestinal Crank\u2019 and \u2018The Strangulation Chair\u2019 are the two torture songs he wrote which are really pertaining to specific torture devices, one being the strangulation chair and one being the intestinal crank which you can read about online I\u2019m sure. He did take that from actual devices that were used for torture, and then Alex wrote the song \u2018Crucifier Avenged\u2019 which is another one of his where I\u2019m not fully sure what the lyrics are about. I didn\u2019t write them, so I can\u2019t say really much about them.\u201d<\/p>\n

Starring Tobin Bell as the cerebral John Kramer, aka The Jigsaw Killer, the Saw<\/em> horror movie series could be surmised as influences on \u2018Intestinal Crank\u2019 and \u2018The Strangulation Chair\u2019. \u201cI don\u2019t know,\u201d the drummer responds. \u201cI know Alex has seen them and he likes these newer movies like Saw<\/em> and all that, but those lyrics just fitted into the torture theme. When we knew we were gonna call the album Torture<\/em>, I know he really wanted to have some songs that had to do specifically with torture and real devices. You\u2019d have to ask him if he was inspired by any of that \u2013 he may have been. I don\u2019t know the answer to that, but we definitely knew we wanted to have some songs like that which were really pertaining to specific torture devices.\u201d<\/p>\n

\n\n\n
<\/td>\n\n
<\/p>\n\n\n
\n
Patrick O\u2019Brien<\/b><\/em><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

Torture<\/em> is a thread throughout some of the album\u2019s tracks, but not all. \u201c\u2018Demented Aggression\u2019 is a little bit of a torture song I guess, and \u2018Caged… Contorted\u2019 \u2013 like I said \u2013 is about being locked in a cage and being twisted out of shape and all that,\u201d Paul remarks. \u201cThere\u2019s obviously some torture going on, but it\u2019s a loosely based thing. It\u2019s not like every song is about torture. We\u2019ve got a few in there, but most of them are about the typical Corpse subjects.\u201d<\/p>\n

For the first time since 2004\u2019s The Wretched Spawn<\/em>, illustrator Vincent Locke was requested to supply a graphic cover artwork. \u201cGreat, great art,\u201d the sticksman enthuses. \u201cVince did a great job; he did a very brutal cover for us, and we\u2019re very pleased to go back to maybe how the covers were in the past a little bit. Everybody seems to be really digging it, like \u2018Oh, you\u2019ve gone back to having brutal artwork. This is awesome.\u2019 We just wanted to give it a try again, and do it again. We haven\u2019t done it for the last couple of records, a pretty brutal cover. We\u2019re glad we did it this time, and we\u2019re very happy with it.\u201d<\/p>\n

\u201cFor the most part, Vince has as much creative freedom as he wants,\u201d he continues. \u201cWe\u2019ve had covers where he just did it on his own; we told him maybe the album title, he came up with his own concept or whatever, and we really trusted his vision. A lot of times we just go with it, and then there\u2019s other times where he says \u2018Hey, any suggestions? Have you got specific ideas?\u2019 You can let him know. He doesn\u2019t mind being told what to do, or what we want to do, or what we think the cover should be. We\u2019ve done a couple of those, so it really just depends I guess. I think this time around we had a little bit more of an idea, and we gave him that idea. Like I said, there\u2019s been some albums where it was just \u2018Man, here\u2019s the title… We don\u2019t really have an idea.\u2019 We then just see what he comes up with so he can do what he wants, but of course he\u2019s always gonna ask \u2018How much gore?\u2019 and all that. We told him this time around to go all out; we said \u2018We need some gore, we need some blood. We need some brutality going on on this cover.\u2019 That was fine by him, and he was down with it.\u201d<\/p>\n

Paul\u2019s drumming has naturally evolved since the issue of debut affair Eaten Back To Life<\/em> in August 1990. \u201cI think I\u2019ve just got tighter at drumming,\u201d he deduces. \u201cIt might be a little more bold, I think. Thinking back to the first album back when we started, I played mainly by just aggression, raw power, and feel. It wasn\u2019t about precision or whether we were in time, and all that stuff. We just all played together, and if we were all playing together on the same page then there was no right or wrong. That\u2019s the way I look back though. We were young and we were that type of a band, more having that punk attitude and just going out and playing. It didn\u2019t have to be perfect, but I think over the years it\u2019s become that a lot more. Of course with my drumming, we\u2019ve incorporated click tracks of late. That keeps you on your toes, and makes you try to play as perfect as you can. It\u2019s come a long way, but I think I\u2019ve refined most of my qualities. I try not to do more than I can do, and most Cannibal songs are gonna be brutal songs. There\u2019s gonna be some blasts, there\u2019s gonna be some straightforward double-bass, and there\u2019s gonna be some complicated parts. It\u2019s just gotten better, and it\u2019s evolved. It\u2019s more precise possibly now, but it\u2019s still in the Cannibal style. If anything, I\u2019m just trying to refine.\u201d<\/p>\n

\n\n\n
\n
<\/p>\n\n\n
\n
Rob Barrett<\/em><\/b><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

Winding the clock 20 years later, whether it\u2019s just as easy for a death metal musician to tap into the genre\u2019s aggression as it always was is a subject for debate. \u201cI guess it\u2019s about the same,\u201d the co-founder discerns. \u201cWe love what we\u2019re doing; we love playing fast. It was never about… I mean, when you\u2019re young you\u2019re young, and you\u2019re angry here and there. I don\u2019t think it\u2019s really like that really. We love playing the songs we play, and of course you\u2019re just feeling the music \u2013 \u2018Oh, I love this… Oh yeah.\u2019 It makes you just wanna \u2018Urrrghh\u2019 and go nuts, so to me it is. If there\u2019s a good riff, and somebody comes up with something then you throw a beat to it, and you\u2019re just like \u2018Yeeaahh!!\u2019 I think that\u2019s how we are with a lot of our songs, and is what keeps us going. It might not be a 100% like it was in the early days, but back then in the early days it was just all new and everything, and everything was just maybe a little more exciting because it was all happening for the first time as opposed to 20-plus years later. Like I said, if you hear a killer riff or if somebody\u2019s got a killer thing going the feel you get off of it keeps you going. It still happens to this day, otherwise we wouldn\u2019t do what we do.\u201d<\/p>\n

Having formed during 1988, whether Cannibal Corpse will continue to exist for another ten to 20 years is anyone\u2019s guess. \u201cIt\u2019s hard to say,\u201d Paul admits. \u201cWe\u2019re older now of course \u2013 we\u2019ve been around for 20-plus years. We\u2019re all in our mid to low 40s, and we still feel healthy. It would be great to go that long, to go another 20 years. Are we able to? Are we physically able to? That\u2019s gonna be the question. You gotta take it all day by day at this point. We all feel good and we all feel like we\u2019re on top of our game, better than we ever have. We write better than we ever have. Only time will tell; if we\u2019re mentally okay and we feel we\u2019re still able to put out quality music and physically we can hold up, there\u2019s no reason why we can\u2019t go another ten to 20 years. Really it\u2019s just hard to predict that though, because being the age we are now it\u2019s really hard to predict what\u2019s gonna happen tomorrow. We\u2019ll see what happens.\u201d<\/p>\n

Torture<\/em> was released on March 9th, 2012 in Germany, Austria, and Switzerland, on the 12th in the rest of Europe, and subsequently on the 13th in North America, all through Metal Blade Records.<\/p>\n

Interview published in March 2012. All photographs by Alex Morgan.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

CANNIBAL CORPSE – Demented Aggression Anthony Morgan March 2012 Cannibal Corpse (l-r): Alex Webster, Rob Barrett, George Fisher, Patrick O\u2019Brien and Paul Mazurkiewicz Cannibal Corpse studio full-lengths ten to 12 \u2013 namely Kill (March 2006), Evisceration Plague (February 2009), and Torture (March 2012) \u2013 equally share a common trait, specifically the line-up involved: co-founders Alex […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[108],"tags":[],"class_list":["post-4630","post","type-post","status-publish","format-standard","hentry","category-cannibal-corpse"],"_links":{"self":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/4630","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/comments?post=4630"}],"version-history":[{"count":17,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/4630\/revisions"}],"predecessor-version":[{"id":4661,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/4630\/revisions\/4661"}],"wp:attachment":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/media?parent=4630"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/categories?post=4630"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/tags?post=4630"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}