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This came sheathed with a black slip-case, and a big sticker on the front:
“Actual
Artwork Too Disturbing For Public Display”. I had to see what bummed out
the authorities in England out so much: Oh! It’s just an autopsy photo of
JFK with an apparent headache.
This Best Of is rather hit and miss. Getting
into Carcass around 1989 I was catching them as they progressed into the
band they eventually morphed into just as they decided to call it a
day—essentially Iron Maiden meets Deep Purple meets the Muppets, as opposed
to the band that happily released 1988’s Reek of Putrefaction. An album
whose artwork is so amazingly disgusting (it’s essentially a mortician’s
collage, with pictures of real, nude, half-rotted corpses with bile leaking
from their mouths), that I had to stop eating while I studied the gatefold.
Guitarist Bill Steer was doing double duty in Napalm Death, and would leave
in ‘89 to give his full attention to Carcass, the band actually able to
utilize his enhanced Evil Monster vocals.
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I’ve actually seen both bands live
enough times that I can tell that Carcass used Undead Apache Werewolf
Effects Pedals or something to make them sound like the kind of chaps your
bring home to sing their Exhume to Consume single a-cappella at the dinner
table.
While I enjoyed Tools of the Trade, Genital Grinder 2, and Hepatic
Tissue Fermentation, I did found myself fast-forwarding through their newer
stuff. The musicianship is great though, and proof that Steer eventually
became a really good guitarist.
Jason Thornberry, CanEHdian.com. Copyright 2001.
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