Retaliation

Carnivore achieved cult status. Guess this cannot be denied. I just do not understand why. Their crossover thrash commutes between punk-infused, short eruptions and drug-imbued, multi-layered heavy metal stompers. But in hindsight, it seems to me that they focussed too much on provocation. Cheap provocation, to be clear. At first glance, “Race War” with lines like “Your skin’s an ugly colour” seemed to indicate a right-wing band (abominable thought), but “no one wins, we all lose” left some loopholes open for the band. Music-wise, this opulently designed track with double bass supported mega-heavy verses and some speedy sequences indicate a solidly working unit. This is no isolated case. “Retaliation” features a band that acts like a well-oiled machine. Okay, I must say that some parts of the songs are going nowhere. Nevertheless, the band’s song-writing usually shows no serious signs of weakness, neither when it comes to punk-inspired sections nor when the musicians walk on metallic territory.

On the other hand, outstanding tunes are missing. “Retaliation” transports a lot of attitude and was probably an inspiration for later hardcore combos like Biohazard. But the song material itself is just okay, nothing more. Of course, one can enjoy “Angry Neurotic Catholics” or “Ground Zero” to a certain extent, but the constant self-pity of Peter Steele (R.I.P.) is hard to endure. His messages are “My only wrongdoing was being born”, “I wish you had left me unborn” or “Somebody put me out of my misery” – and these excerpts are taken from three different tracks. Insult to injury, Steele’s lyrics are also pretty dubious (“Skins and Bangers joining fight as one”) or / and full of nonsense. “His mother a nun raped by a nazi”, “Reich und roll”… eh what? But I acknowledge, lyrics are just lyrics and music is music (you didn’t know this before, I guess…). So I apologize for this phrase, let’s get back to the music.

The entire B side is a pretty joyless experience. No, the songs aren’t bad and Steele’s bass adds some casual moments. His vocals are (regardless of the lyrical content) powerful and sound natural. His comrades do a technically fine job as well. I also recognise that, just like Nuclear Assault, the three dudes went their own way. In a polarised world of posers and thrashers, Carnivore didn't allow themselves to be completely taken over by the latter side. But the songs lack catchy sections, musical brilliance and a total flop like the Jimi H. cover (“Manic Depression, of course…) or the completely boring instrumental do not make things better. From this follows that songs like “S.M.D.” (from the A side) or “Technophobia” do not leave a lasting impression, at least in my humble opinion) and choruses like the one of “U.S.A. for U.S.A.” want to create an Agnostic Front compatible hardcore feeling, but their impact is small.

As said before, Carnivore’s cult status cannot be denied. “Retaliation” scores with a proper production and its artwork mirrors the apocalypse in a very easily understandable way. But it cannot fulfil the expectations when it comes to the most important thing, the music itself. Once again, the songs are mostly somewhere between solid, acceptable and okay, but far away from justifying the word cult. Just my two cents, I hope you do not understand this as a provocation.

The Brooklynites Carnivore have struck again in a more modern and political fashion with Retaliation, abandoning their primitive and apocalyptic roots. Peter sounds more like himself in this record, while the instruments haven't changed but, to some extent, sound better. However, that extent doesn't equate to being better than the debut album. Also, Keith Alexander left the band and was replaced by Marc Piovanetti. The concept of Retaliation mostly revolves around race, politics and its incorrectness, as well as some religious remarks; like what the title of the song Angry Neurotic Catholics suggests, including the final verse of Race War. It's all based on a more speed/crossover music rather than heavy and thrash metal including some hard rock that derives from the debut album.

Originally, this album isn't any longer or any shorter than its predecessor. They're both around the same length minus the majority of the tracks being around two to three minutes. The album also includes a prelude track and an instrumental track. Additionally, you have The Jimi Hendrix Experience's Manic Depression that the band covered, which leaves you with entirely nine new tracks (including vocals, of course). With the reissued version of this album that extends it to another twenty minutes, it makes the experience longer. For such a crossover thrash metal album, you get the demos of World Wars III and IV and Carnivore. They're pretty raw, and although labeled as a demo, The Subhuman (not to be confused with the German-titled Der Untermensch by Type O Negative which Peter practically used the same title twice, only both songs are entirely different from one another and Der Untermensch isn't a covered version) is practically an unreleased song and length-wise beats World Wars III and IV. It's a worthy bang for your buck.

Top-tier songs: before the sane is introduced to the angry neurotic Catholics, the album opens with the aftermath of Jack Daniel's and Pizza. Basically, you hear a man who pukes his guts out and spits vomit remains, flushes it down the toilet and properly washes his hands. Maybe it pays homage to pizza thrash... It's a pointless track anyways and should've been part of the opening song instead. But for the sake of humor, it's rather funny to have it around, and if the man in question is Peter recorded puking, then the purpose is fulfilled. Why the hell not! Angry Neurotic Catholics blasts in pretty great drums-wise. You hear Peter's distorted bass that gives more layers to the song. Progressing to the chorus, the song becomes too damn catchy and fantastic. Just a great fucking song! Through the bridge/outro, the song becomes groovier. Ground Zero Brooklyn starts off with more doom metal layers - and man, what a fucking title! After that doomy intro, you get some heavy/thrash metal vibes that later transform to speed metal. There's a short interlude before the bridge, where Peter basically says he wished he was left unborn by Jesus - something along those lines. Then the music blasts in; both drums and the distorted bass sound gradually. Now for one of the band's best compositions lyrically: Race War speaks for itself. While the structure is pretty standard and the music starts to regulate itself, the music goes through the racism of white, black, yellow, red; brother/not brother and being born by different cunts; ethnicities such as Jews, Arabs, Christians, and Muslims - all through animosity and vile hatred. The best part about the song, instrumentally, is the chorus. It's got a great slow melody that fulfills a lot of the aggression and point of view. Maybe it shouldn't be considered a top-tier song, but Manic Depression sounds like a bastard! I don't know how faithful it stayed to the original (probably hasn't whatsoever), but the structure sounds amazing with the effects from the guitar and bass. Five Billion Dead is a beautifully composed instrumental track that is mostly melodic with great drum beats. The ravishing distortion from Peter's bass revealed some more colors, too. And to end the album with the ridiculous Sex and Violence: unfortunately, the beautiful bass intro from the demo version has been cut to make this album more politically and punky when it comes to the environment. The song always had catchy music and clever lyrics.

Second-tier songs: S.M.D. sounds quite identical to its demo version, but mixed better - and there's even a funny short out-of-key moment. Funny how this song used to be my favorite song from the band and it's still a great song in both versions, but there's a lot of better material than this. The long bridge overall is the best section of the song. During the final two minutes, the song gets into the crossover environment. Inner Conflict (definitely sounds like something Sepultura was inspired from) doesn’t sound any different other than being longer than the average tracks. The first two minutes are pretty simple, but the transition into the bridge becomes catchier and gives the song some texture, thanks to the overly distorted bass tones and the groove. Then there are some nice melodies. Listening to that Jesus Hitler intro as a kid was one of the most terrifying things I've ever listened to. Those low choirs and "seig heil" in the background are just fucking scary; hell it's still kinda is. Just imagine this being played in a Wolfenstein game... After that intro, the band counts to four in German and showcasing a groovier side to their music constantly, especially the pre-chorus. "Jesus Christ - Adolf Christ, Second Coming - Fourth Reich" - that's some clever shit! So yeah, you pretty much hear a combination of Hitler and Jesus and if they were the opposite; like sexes. Technophobia is mostly thrash influenced, but during the bridge, it proclaims for the darkest part on the album. I think it's one of the more predictable songs but still got some nice tunes to it. So not a lot to say on that one. More crossoverness with U.S.A. for U.S.A. that never failed to deliver. For the most part, it's just a fun song with some sweet riffs.

Instead of a distorted opening sound (which only comes a few seconds before the initial intro), the demo version of World Wars III and IV starts with an alarm. The song isn't any different than the newer version on the band's debut album, but it sounds like they tuned to a higher tuning (not sure if it's just E standard) and you can still hear Peter's thick accent. I also liked the reverb on the vocals; giving the song more meaning and depth. In the end, Peter originally sang "I doubt you'll be" in the song's outro. The anthem that's played in the final minutes in the new version was not recorded in the demo version. Obviously, even the demo version of Carnivore would have a more 80s feel to it and sound like hard rock. Not any different than the version on the self-titled but it's good enough. And for The Subhuman: the majority of the song is slow-paced. Peter sings in a storytelling way that is quite encapsulating by the demos' presented reverb vocals. Almost four minutes after, Peter reveals the iceman in an interesting vocal fashion that leads to catchy guitar notes. During the long bridge, there's a keyboard introduction that adds more atmosphere to the song, though very briefly. Then the song closes just like how it opened. Overall, it's very long but not boring.

Unfortunately, Carnivore only made a few brief live shows and later called it a day. Even during the height of Type O Negative, there were some reunion shows but nothing too remarkable that would imply any reformation that would lead to a studio return as well. Peter, with Marc and an additional guitarist and a different drummer toured in Europe in the mid-2000s, which was fantastic and revived the band to some status. Years after Peter passed away, the band reformed as Carnivore A.D. with a pretty good replacement singer and bassist for Peter that somewhat captures his essence, but that's it. I can't see any studio return, let alone the replacement musician taking over Peter's duties in creating new music.

Honestly, Carnivore is simply a perfect band. It's got everything from hardcore elements and crossover, to speed and traditional thrash metal that, to this day, remained classic and unique sound-wise. They aged well, they remained memorable, and with the two different styles displayed between their debut and Retaliation is amazing, experimental, and original. They're definitely the exception among other bands in the genre. Arguably, the debut album is regarded to be better, unlike the more modern-sounding and better-mixed production from Retaliation, but they're equally good, despite the significant differences. The best songs are Angry Neurotic Catholics, Ground Zero Brooklyn, Race War, Jesus Hitler, Manic Depression, and Sex and Violence.

Well, heres something you don't see everyday. Punk-thrash with a heaping helping of Black Sabbath worship. "I Put Black Sabbath on, Razor blade in hand" ain't just lip service on Retaliation, as the supposed thrash-breaks transcend their musical category and can only be described as groovy doom. Whereas the s/t debut was more of a no frills thrash album, this takes the idea of crossover and stretches that to both fast & slow extremes. Peter Steele's vocal delivery on the debut was more that of an American Cronos, but this Peter Steele is all too happy to release the angry punk within.

In case I haven't beaten it in to your head already, if you love punk, you'll love this album. Specifically you'll love Angry Neurotic Catholics, Suck My Dick, Sex & Violence, and if you're an anarchist with a well developed sense of irony, USA for USA. Peter Steele's sense of humor is still very much intact for this Retaliation, possibly even more so. If you are more of the slow musical persuasion, then Five Billion Dead, Jesus Hitler, Race War and Sex & Violence should scratch your itch. Yes I mention Sex & Violence in both categories, even though that is not even remotely close to doom, because everyone should love Sex & Violence. Arguably the definitive Carnivore song, there is no reason to not have this on your iPhone music library to annoy your local SJW or bible belt convent.

The only aberration here is the Jimi Hendrix cover. If I want to listen to Manic Depression, I'll just put on Are You Experienced. There's certainly nothing wrong with it, and it's arguably fuller and chunkier than the original, but Hendrix is one of those sacred artists that just don't tamper with. I will admit that this cover is less of an elephant in the room than say, Purple Haze on Punishment For Decadence.

Both Carnivore albums are essential thrash. Snag Retaliation and shit your pants as you wait for the reaper (or for the Amazon postman to deliver it).

I loved the first album by this band because it is still nowadays one of the best examples of how different genres like doom/thrash/speed and hardcore could be mixed to create a devastating wall of heavy music. The sincerity of their debut and its purity are unmatchable but also this follow up, Retaliation, worth more than a mention for its furious burden of anger and despise towards everything, from religion to society. Anyway, I must say that this album seems more planned and less spontaneous that the debut. The production, anyway, this time is far better and the band has acquired a remarkable burden of technique and this time is more precise.

“Jack Daniels and Pizza” is an intro made of sounds of a person puking in a bathroom and the following “Angry Neurotic Catholics” shows the first fast paced parts. The up tempo parts are furious and full of hardcore influences in the guitars, being mostly on open chords riffage. The vocals by Pete are always angry and truly violent with his particular and easily recognizable tonality. The production exalts a lot the rhythmic session and the pounding, distorted and echoing bass. The following “S.M.D.” is even faster and this time the thrash metal is more present while we reach the first mid-paced track with “Race Wars”. Here the band comes back to the debut with doom tempo and melodic arpeggios with the cleaner vocals by Pete.

“Inner Conflict” is again faster and gives a lot of power to the bass sound. The bass drum triplet and the up tempo on the snare are blowing. The sudden, strange and obscure doom passages are very good and really unexpected. The riffs are always quite catchy even being truly pounding and violent, taking inspiration from punk and hardcore. The refrain of these songs are well stuck in the structures. Pete is truly vicious, especially at the mid-paced parts where his vocals are suffered and powerful at the same time. Some more melodic breaks are welcomed to give fresh air to the sound but for example “Male Supremacy” still seems from another planet.

“Jesus Hitler” is hilarious. The intro is made of a speech by Hitler with choirs on the background to virtually bind together these two individuals. Musically, this song alternates fast parts to doom ones in pure Carnivore style but the catchiness is always present and the structures are dynamic. “Technophobia” somehow always reminded me Sodom for the way they play during the fast parts with more thrash metal parts and solos. “USA for USA” is unbelievably brutal in its relentless march under hardcore riffs and screamed vocals, while “Five Billion Dead” is mostly doom with more melodic and dramatic guitars patterns to prepare for the true highlight here, the final “Sex and Violence”. The refrain is mythical and the power is incredible.

The good blend of hardcore/thrash fast parts with the doom and more melodic ones is perfect to lead us towards the end of another good album by this band. To me, the first album will remain forever the best but if you love Carnivore, you can’t go wrong with this, don’t worry.

I've been hearing good things about Peter Steele's pre-Type O' Negative band Carnivore for quite a while now, but only recently I decided to give it a spin. There surely is no guarantee that ToN fans will enjoy this album, because this is balls-out punky thrash. I can only think of two moments on this album that might be a bit similar to early ToN works (the slow parts in "Ground Zero Brooklyn" and parts of "Five Billion Dead").

The controversial themes are fun as hell and amazingly well written:

"Jesus I beg of thee, don't take my life, return me to the womb
from which I was torn. Birth is a sin and the punishment is death.
I wish you had left me unborn, I shit my pants as I wait for the reaper!"

That's just one good example of the hilarity this album ensues.

The guitar riffs are catchy as hell and resemble Nuclear Assault (Game Over - Handle With Care) quite a bit, but the punk edge is probably even more prevalent.
The drumming is sloppy and punkish too, which fits very well into the overall sound of the album. Steele's vocals are nowhere near close to his ToN delivery - he never uses his bass tone, mostly he stays in his midrange but churns out aggressive and vile screams, which fit, again, very well into the overall sound.

Songs like "Jesus Hitler" and "Race War" tend to cross national socialist parody with anti-religious themes and might be hard to swallow for die-hard "fans" of organized religion. I think they are fun as hell and make the songs even more interesting as they already are.

As of 2006, Carnivore seem to have reunited and maybe I'll be able to hear this stuff live on day. It surely would be one hell of a concert.

I recommend this album to all fans of crossover/thrash. I'm usually not too much into crossover, but I'm sure that this one will be spinning in my player on a regular basis for a while.

This was the album where Peter Steele & Co. ditched the silly Road Warrior image and started really LAYING THE SMACK DOWN. After a silly and pointless puking intro that gets points deleted and me skipping it, the onslaught starts hard with "Angry Neurotic Catholics", a feral thrash blaster that will have the Gothlings who worship at Peter's huge boots aghast at the intense aggression and anger on display here. "S.M.D." continues in that vein with insanely vicious lyrics directed at any and all who would call him a freak for his image, lifestyle, music--in fact, this entire album has some of the most ugly, misanthropic lyrics I've ever read. Knowing Peter, he wrote them to get a rise out of folks, which he most certainly did. But back in those days, he wasn't as refined a lyricist as he is with Type O Negative, and as a result the lyrics come off as much simpler and even more direct than anything he's ever written with Type O.

"Ground Zero Brooklyn" has a very catchy chorus, and "Race War" is just...yeesh! Truly angry and racist lyrics that really capture the mentality of the average white supremacist in a nutshell: "Don't call me your brother, cuz I ain't your fuckin' brother/We fell from different cunt/And your skin, your skin's an ungly color!" The lurching, doomy riffs on the verses ram these hateful lyrics home with brute force, and the chorus actually drifts into a more dreamy and sad feel. Ironic, considering the lyrical subject, but it also makes one wonder how racist he actually is, as the feeling on the chorus as he sings "Race war, we're going to a race war/Hate war, we're going to a hate war" makes him seem sad and reluctant to actually go through with the war in question. "Jesus Hitler" has some amusing lyrics as well as a solid alternation of thrashing and slower riffs, and their cover of "Manic Depression" is actually pretty decent, although delivered in a considerably more nettled and irreverent manner than Mr. Hendrix probably imagined it.

The musicianship is strong throughout the album, with Marc Piovanetti cranking out some blistering leads to flavor the riffs and Louie Beateaux raging behind the kit like a madman. Peter's bass tone is the same as it is on the Type O albums; a wall of chorused fuzz that doesn't require a second guitarist at all to hold up the low end during solos, and his vocals are mostly delivered in an angry ranting/screaming style that suits the music perfectly, far from the smooth Goth-influenced bass vocals that the future would see coming from him. This is essential, and if you know not to take the lyrics all that seriously, you will indeed dig this album. Crossover at its heaviest was this band, and I'm glad Peter has gotten all that rage and bile out of his system, because who knows what he'd be like these days if he hadn't!