CATTLE DECAPITATION
Travis Ryan: Vocals
Josh Elmore: Guitars
Dave McGraw: Drums
Belisario Dimuzio: Guitars
Olivier Pinard: Bass
Cattle Decapitation have never shied away from confronting the awfulness wrought upon the natural world by the human race, and Death Atlas is their bleakest offering to date. The cover art says it all, a stooped, skeletal Grim Reaper carrying the burnt-outhusk of our planet on his back. "The core concept of this record is humanity's insignificance despite what we've convinced ourselves," explains vocalist Travis Ryan.
"That's kind of why this album cover takes place in space, to remind you that 'the universe always finds a way to purge'. In the grand scheme of things, our species ismerely a fleeting thought." Backing this up with a ferocious soundtrack, it's one of the most shocking and unflinching records of 2019, demanding an emotional response, and forcing people to think about their own contributions to the devastation of the planet.
Four years is the longest gap between Cattle Decapitation records, but with one irresistible offer after another coming in, rather than taking time off and focusing on writing as planned, they repeatedly hit the road. The upside to this was that with newmembers Olivier Pinard (bass) and Belisario Dimuzio (guitar) joining Ryan, guitarist Josh Elmore and drummer David McGraw, the new lineup had a better chance to bond aspeople and develop their musical connection, which was only to the album's benefit, and contributed to its inarguably epic feel. "That's just kind of the direction things have been going for years now, pretty much ever since 'Karma.Bloody.Karma' (2006) but it really ramped up with 'Monolith Of Inhumanity' (2012) and on. We had new blood, and
that helped, plus we knew what we were going for, which very much was an 'epic'sound." As intense a listening experience as it is - the word 'extremity' applying asmuch as it ever has when it comes to Cattle Decapitation - there is also a lot ofmelancholy in the melodies, which was intentional. "It's a bummer of a concept and isvery dark and drab, and the cover reflects this as well with the qualities it has. One of my favorite reactions from people has been when they cry at our concerts. It's happened more than a few times, and it's a very primal, very real emotion. If ametalhead is willing to cry in front of other metalheads, you have done somethingamazing and that is evoking a very genuine response from a person. It has nothing todo with being sad, emotional or depressed. It's simply just a very real and true reactionto art that I appreciate very much. That was a big influence to me, personally, while writing this record." It's also a very exploratory record, the band going places theynever have before without compromising themselves at any juncture. Death metal, grind core, black metal, sludge, doom, drone, all of these extreme styles are thrown into the melting pot alongside some more restrained elements, and Ryan's vocals are broader and more fully realized than ever before. "There's a bit of 'actual vocals' on thisone, not just 'the bear and the snake' that traditionally make up extreme metal vocals. Iwant to take things to literal extremes. The highest screech to the lowest of melancholy singing. I've always been a singer to some degree, but there definitely is stuff on herenobody has really heard me do. I don't want to do sounds just for the sake of them,they need to have their place, they need to evoke something."
Sticking with the 'if it ain't broke...' adage, the band reunited with producer Dave Otero (Allegaeon, Cephalic Carnage) and headed into the studio for the most rewarding recording process of their career. "It was absolutely incredible. I've never felt so good about how I sounded, Dave crushed his parts, Josh and Bel killed it, Oli killed it, everyone was just nailing their stuff like never before. This is the first album whereeverything just clicked right into place where it needs to be. We talked about it the whole time, wondering what was going to go wrong, as everything going smoothly and perfectly isn't something we're used to! But it was just the easiest recording we've everdone, by far. Everyone was happy, spirits were up, and we just couldn't be happier withhow things went." Expanding the sound of the record, the band also invited numerous collaborators to come in and work with them. The nine-plus minute closing title track -which Ryan considers to be Cattle Decapitation's finest moment - features Laure LePrunenec of Igorrr and Ricinn, who Ryan regards as a "phenomenal talent", and hercontribution definitely ups the already substantial emotional ante of the track. "We also had help from Riccardo Conforti of Italy's Void of Silence on an intro to the record as well as Dis Pater of Brisbane's Midnight Odyssey, two bands we're huge fans of. We knew these were the guys we wanted to collaborate with to get the right feeling for the record. We enlisted the brass instrumentalists from Italy's Ottone Pesante for somehorns on the Dead Can Dance cover song, 'In the Kingdom of the Blind, The One-Eyed Are Kings' and last but not least, we have the legendary Jon Fishman from Phish lending a narration to the track leading into the title track, called 'The Unerasable Past'.
Jon is a big fan of the band and we were happy to have him come on board with thenarration, as well as a quote off the top of his head that was inspired by the beautifularea he lives in, and recorded under the Maine night sky."
As the band prepares to tour and hopefully reach places they have yet play, what Ryanwants listeners to take away from Death Atlas is clear: "I want people to be shockedinto thinking more about their futures, their loved ones, the pain they're potentiallysubjecting their future generations to. Everyone just seems to live in the now with nocare for tomorrow and that's incorrect thinking as far as today goes. Don't make tomorrow a cancelled check."
~~~~~~~~
"Well over a decade since its inception, CATTLE DECAPITATION has forged its not-so-humble beginnings in veggie gore-grind into one of extreme metal's most relentless forces, encompassing a sound as schizophrenic as their record collections but with a determined lyrical stance resolutely damning the ills of humanity.
With 5 full-lengths and countless tours under their belt as well as having influenced the majority of today's rapidly-growing-in-popularity death/grind hopefuls, CATTLE DECAPITATION continue their own brand of spastic gore-drenched grinding death with their 4th Metal Blade release, "The Harvest Floor" for release on January 20th, 2009. This marks the first release featuring the latest addition to the fold, drummer David McGraw. Fusing 2006's "Karma.Bloody.Karma" writing style with a much anticipated update in technicality, production and brutality, "The Harvest Floor" will undoubtedly be a milestone in the ever-diversifying metal scene that is now dominating the globe. The enhanced portion of the CD version sports an I-pod ready documentary titled "Pandemic: The Damnation Epic: The Making of 'The Harvest Floor'" and the layout reveals the true carnage that the cover art by Wes Benscoter, in it's over the top yet highly conceptual glory, only hints at. "The Harvest Floor" is simply put, an apocalyptic multimedia epic!
No strangers to guest appearances, CATTLE DECAPITATION have enlisted some old friends for guest vocals including Ross Sewage (Impaled/Ludicra) and Dino Sommese (Dystopia/Asunder). The band is also very pleased to announce there is a special appearance by Jarboe (Swans), lending her beautifully haunting voice to the epic death dirge "The Harvest Floor." Jackie Perez Gratz (Grayceon /Amber Asylum) graces a couple tracks with her electric cello and Los Angeles noisician John Wiese also lends his electronic/atmospheric expertise to the album further separating the band from the typical "cookie-cutter" approach applied all too often by today's extreme acts.
"The Harvest Floor" shows a return to the engineering and production skills of Billy Anderson (Mr. Bungle, Melvins, Swans) with a combination of drum recording by Zach Ohren (All Shall Perish, Decrepit Birth) to create a modern but unique sound that is disturbingly pummeling. Holed up in Sharkbite studios in Oakland, CA for nearly a month away from the punishing light of day, CATTLE DECAPITATION hid in the depths and have sprouted new hell with the masterpiece that is... The Harvest Floor." - https://www.cattledecapitation.com
show less
Travis Ryan: Vocals
Josh Elmore: Guitars
Dave McGraw: Drums
Belisario Dimuzio: Guitars
Olivier Pinard: Bass
Cattle Decapitation have never shied away from confronting the awfulness wrought upon the natural world by the human race, and Death Atlas is their bleakest offering to date. The cover art says it all, a stooped, skeletal Grim Reaper carrying the burnt-outhusk of our planet on his back. "The core concept of this record is humanity's insignificance despite what we've convinced ourselves," explains vocalist Travis Ryan.
"That's kind of why this album cover takes place in space, to remind you that 'the universe always finds a way to purge'. In the grand scheme of things, our species ismerely a fleeting thought." Backing this up with a ferocious soundtrack, it's one of the most shocking and unflinching records of 2019, demanding an emotional response, and forcing people to think about their own contributions to the devastation of the planet.
Four years is the longest gap between Cattle Decapitation records, but with one irresistible offer after another coming in, rather than taking time off and focusing on writing as planned, they repeatedly hit the road. The upside to this was that with newmembers Olivier Pinard (bass) and Belisario Dimuzio (guitar) joining Ryan, guitarist Josh Elmore and drummer David McGraw, the new lineup had a better chance to bond aspeople and develop their musical connection, which was only to the album's benefit, and contributed to its inarguably epic feel. "That's just kind of the direction things have been going for years now, pretty much ever since 'Karma.Bloody.Karma' (2006) but it really ramped up with 'Monolith Of Inhumanity' (2012) and on. We had new blood, and
that helped, plus we knew what we were going for, which very much was an 'epic'sound." As intense a listening experience as it is - the word 'extremity' applying asmuch as it ever has when it comes to Cattle Decapitation - there is also a lot ofmelancholy in the melodies, which was intentional. "It's a bummer of a concept and isvery dark and drab, and the cover reflects this as well with the qualities it has. One of my favorite reactions from people has been when they cry at our concerts. It's happened more than a few times, and it's a very primal, very real emotion. If ametalhead is willing to cry in front of other metalheads, you have done somethingamazing and that is evoking a very genuine response from a person. It has nothing todo with being sad, emotional or depressed. It's simply just a very real and true reactionto art that I appreciate very much. That was a big influence to me, personally, while writing this record." It's also a very exploratory record, the band going places theynever have before without compromising themselves at any juncture. Death metal, grind core, black metal, sludge, doom, drone, all of these extreme styles are thrown into the melting pot alongside some more restrained elements, and Ryan's vocals are broader and more fully realized than ever before. "There's a bit of 'actual vocals' on thisone, not just 'the bear and the snake' that traditionally make up extreme metal vocals. Iwant to take things to literal extremes. The highest screech to the lowest of melancholy singing. I've always been a singer to some degree, but there definitely is stuff on herenobody has really heard me do. I don't want to do sounds just for the sake of them,they need to have their place, they need to evoke something."
Sticking with the 'if it ain't broke...' adage, the band reunited with producer Dave Otero (Allegaeon, Cephalic Carnage) and headed into the studio for the most rewarding recording process of their career. "It was absolutely incredible. I've never felt so good about how I sounded, Dave crushed his parts, Josh and Bel killed it, Oli killed it, everyone was just nailing their stuff like never before. This is the first album whereeverything just clicked right into place where it needs to be. We talked about it the whole time, wondering what was going to go wrong, as everything going smoothly and perfectly isn't something we're used to! But it was just the easiest recording we've everdone, by far. Everyone was happy, spirits were up, and we just couldn't be happier withhow things went." Expanding the sound of the record, the band also invited numerous collaborators to come in and work with them. The nine-plus minute closing title track -which Ryan considers to be Cattle Decapitation's finest moment - features Laure LePrunenec of Igorrr and Ricinn, who Ryan regards as a "phenomenal talent", and hercontribution definitely ups the already substantial emotional ante of the track. "We also had help from Riccardo Conforti of Italy's Void of Silence on an intro to the record as well as Dis Pater of Brisbane's Midnight Odyssey, two bands we're huge fans of. We knew these were the guys we wanted to collaborate with to get the right feeling for the record. We enlisted the brass instrumentalists from Italy's Ottone Pesante for somehorns on the Dead Can Dance cover song, 'In the Kingdom of the Blind, The One-Eyed Are Kings' and last but not least, we have the legendary Jon Fishman from Phish lending a narration to the track leading into the title track, called 'The Unerasable Past'.
Jon is a big fan of the band and we were happy to have him come on board with thenarration, as well as a quote off the top of his head that was inspired by the beautifularea he lives in, and recorded under the Maine night sky."
As the band prepares to tour and hopefully reach places they have yet play, what Ryanwants listeners to take away from Death Atlas is clear: "I want people to be shockedinto thinking more about their futures, their loved ones, the pain they're potentiallysubjecting their future generations to. Everyone just seems to live in the now with nocare for tomorrow and that's incorrect thinking as far as today goes. Don't make tomorrow a cancelled check."
~~~~~~~~
"Well over a decade since its inception, CATTLE DECAPITATION has forged its not-so-humble beginnings in veggie gore-grind into one of extreme metal's most relentless forces, encompassing a sound as schizophrenic as their record collections but with a determined lyrical stance resolutely damning the ills of humanity.
With 5 full-lengths and countless tours under their belt as well as having influenced the majority of today's rapidly-growing-in-popularity death/grind hopefuls, CATTLE DECAPITATION continue their own brand of spastic gore-drenched grinding death with their 4th Metal Blade release, "The Harvest Floor" for release on January 20th, 2009. This marks the first release featuring the latest addition to the fold, drummer David McGraw. Fusing 2006's "Karma.Bloody.Karma" writing style with a much anticipated update in technicality, production and brutality, "The Harvest Floor" will undoubtedly be a milestone in the ever-diversifying metal scene that is now dominating the globe. The enhanced portion of the CD version sports an I-pod ready documentary titled "Pandemic: The Damnation Epic: The Making of 'The Harvest Floor'" and the layout reveals the true carnage that the cover art by Wes Benscoter, in it's over the top yet highly conceptual glory, only hints at. "The Harvest Floor" is simply put, an apocalyptic multimedia epic!
No strangers to guest appearances, CATTLE DECAPITATION have enlisted some old friends for guest vocals including Ross Sewage (Impaled/Ludicra) and Dino Sommese (Dystopia/Asunder). The band is also very pleased to announce there is a special appearance by Jarboe (Swans), lending her beautifully haunting voice to the epic death dirge "The Harvest Floor." Jackie Perez Gratz (Grayceon /Amber Asylum) graces a couple tracks with her electric cello and Los Angeles noisician John Wiese also lends his electronic/atmospheric expertise to the album further separating the band from the typical "cookie-cutter" approach applied all too often by today's extreme acts.
"The Harvest Floor" shows a return to the engineering and production skills of Billy Anderson (Mr. Bungle, Melvins, Swans) with a combination of drum recording by Zach Ohren (All Shall Perish, Decrepit Birth) to create a modern but unique sound that is disturbingly pummeling. Holed up in Sharkbite studios in Oakland, CA for nearly a month away from the punishing light of day, CATTLE DECAPITATION hid in the depths and have sprouted new hell with the masterpiece that is... The Harvest Floor." - https://www.cattledecapitation.com
CATTLE DECAPITATION
Travis Ryan: Vocals
Josh Elmore: Guitars
Dave McGraw: Drums
Belisario Dimuzio: Guitars
Olivier Pinard: Bass
Cattle Decapitation have never shied away from confronting the awfulness wrought upon the natural world by the human race, and Death Atlas is their bleakest offering to date. The cover art says it all, a stooped, skeletal Grim Reaper carrying the burnt-outhusk of our planet on his back. "The core concept of this record is humanity's insignificance despite what we've convinced ourselves," explains vocalist Travis Ryan.
"That's kind of why this album cover takes place in space, to remind you that 'the universe always finds a way to purge'. In the grand scheme of things, our species ismerely a fleeting thought." Backing this up with a ferocious soundtrack, it's one of the most shocking and unflinching records of 2019, demanding an emotional response, and forcing people to think about their own contributions to the devastation of the planet.
Four years is the longest gap between Cattle Decapitation records, but with one irresistible offer after another coming in, rather than taking time off and focusing on writing as planned, they repeatedly hit the road. The upside to this was that with newmembers Olivier Pinard (bass) and Belisario Dimuzio (guitar) joining Ryan, guitarist Josh Elmore and drummer David McGraw, the new lineup had a better chance to bond aspeople and develop their musical connection, which was only to the album's benefit, and contributed to its inarguably epic feel. "That's just kind of the direction things have been going for years now, pretty much ever since 'Karma.Bloody.Karma' (2006) but it really ramped up with 'Monolith Of Inhumanity' (2012) and on. We had new blood, and
that helped, plus we knew what we were going for, which very much was an 'epic'sound." As intense a listening experience as it is - the word 'extremity' applying asmuch as it ever has when it comes to Cattle Decapitation - there is also a lot ofmelancholy in the melodies, which was intentional. "It's a bummer of a concept and isvery dark and drab, and the cover reflects this as well with the qualities it has. One of my favorite reactions from people has been when they cry at our concerts. It's happened more than a few times, and it's a very primal, very real emotion. If ametalhead is willing to cry in front of other metalheads, you have done somethingamazing and that is evoking a very genuine response from a person. It has nothing todo with being sad, emotional or depressed. It's simply just a very real and true reactionto art that I appreciate very much. That was a big influence to me, personally, while writing this record." It's also a very exploratory record, the band going places theynever have before without compromising themselves at any juncture. Death metal, grind core, black metal, sludge, doom, drone, all of these extreme styles are thrown into the melting pot alongside some more restrained elements, and Ryan's vocals are broader and more fully realized than ever before. "There's a bit of 'actual vocals' on thisone, not just 'the bear and the snake' that traditionally make up extreme metal vocals. Iwant to take things to literal extremes. The highest screech to the lowest of melancholy singing. I've always been a singer to some degree, but there definitely is stuff on herenobody has really heard me do. I don't want to do sounds just for the sake of them,they need to have their place, they need to evoke something."
Sticking with the 'if it ain't broke...' adage, the band reunited with producer Dave Otero (Allegaeon, Cephalic Carnage) and headed into the studio for the most rewarding recording process of their career. "It was absolutely incredible. I've never felt so good about how I sounded, Dave crushed his parts, Josh and Bel killed it, Oli killed it, everyone was just nailing their stuff like never before. This is the first album whereeverything just clicked right into place where it needs to be. We talked about it the whole time, wondering what was going to go wrong, as everything going smoothly and perfectly isn't something we're used to! But it was just the easiest recording we've everdone, by far. Everyone was happy, spirits were up, and we just couldn't be happier withhow things went." Expanding the sound of the record, the band also invited numerous collaborators to come in and work with them. The nine-plus minute closing title track -which Ryan considers to be Cattle Decapitation's finest moment - features Laure LePrunenec of Igorrr and Ricinn, who Ryan regards as a "phenomenal talent", and hercontribution definitely ups the already substantial emotional ante of the track. "We also had help from Riccardo Conforti of Italy's Void of Silence on an intro to the record as well as Dis Pater of Brisbane's Midnight Odyssey, two bands we're huge fans of. We knew these were the guys we wanted to collaborate with to get the right feeling for the record. We enlisted the brass instrumentalists from Italy's Ottone Pesante for somehorns on the Dead Can Dance cover song, 'In the Kingdom of the Blind, The One-Eyed Are Kings' and last but not least, we have the legendary Jon Fishman from Phish lending a narration to the track leading into the title track, called 'The Unerasable Past'.
Jon is a big fan of the band and we were happy to have him come on board with thenarration, as well as a quote off the top of his head that was inspired by the beautifularea he lives in, and recorded under the Maine night sky."
As the band prepares to tour and hopefully reach places they have yet play, what Ryanwants listeners to take away from Death Atlas is clear: "I want people to be shockedinto thinking more about their futures, their loved ones, the pain they're potentiallysubjecting their future generations to. Everyone just seems to live in the now with nocare for tomorrow and that's incorrect thinking as far as today goes. Don't make tomorrow a cancelled check."
~~~~~~~~
"Well over a decade since its inception, CATTLE DECAPITATION has forged its not-so-humble beginnings in veggie gore-grind into one of extreme metal's most relentless forces, encompassing a sound as schizophrenic as their record collections but with a determined lyrical stance resolutely damning the ills of humanity.
With 5 full-lengths and countless tours under their belt as well as having influenced the majority of today's rapidly-growing-in-popularity death/grind hopefuls, CATTLE DECAPITATION continue their own brand of spastic gore-drenched grinding death with their 4th Metal Blade release, "The Harvest Floor" for release on January 20th, 2009. This marks the first release featuring the latest addition to the fold, drummer David McGraw. Fusing 2006's "Karma.Bloody.Karma" writing style with a much anticipated update in technicality, production and brutality, "The Harvest Floor" will undoubtedly be a milestone in the ever-diversifying metal scene that is now dominating the globe. The enhanced portion of the CD version sports an I-pod ready documentary titled "Pandemic: The Damnation Epic: The Making of 'The Harvest Floor'" and the layout reveals the true carnage that the cover art by Wes Benscoter, in it's over the top yet highly conceptual glory, only hints at. "The Harvest Floor" is simply put, an apocalyptic multimedia epic!
No strangers to guest appearances, CATTLE DECAPITATION have enlisted some old friends for guest vocals including Ross Sewage (Impaled/Ludicra) and Dino Sommese (Dystopia/Asunder). The band is also very pleased to announce there is a special appearance by Jarboe (Swans), lending her beautifully haunting voice to the epic death dirge "The Harvest Floor." Jackie Perez Gratz (Grayceon /Amber Asylum) graces a couple tracks with her electric cello and Los Angeles noisician John Wiese also lends his electronic/atmospheric expertise to the album further separating the band from the typical "cookie-cutter" approach applied all too often by today's extreme acts.
"The Harvest Floor" shows a return to the engineering and production skills of Billy Anderson (Mr. Bungle, Melvins, Swans) with a combination of drum recording by Zach Ohren (All Shall Perish, Decrepit Birth) to create a modern but unique sound that is disturbingly pummeling. Holed up in Sharkbite studios in Oakland, CA for nearly a month away from the punishing light of day, CATTLE DECAPITATION hid in the depths and have sprouted new hell with the masterpiece that is... The Harvest Floor." - https://www.cattledecapitation.com
read more
Travis Ryan: Vocals
Josh Elmore: Guitars
Dave McGraw: Drums
Belisario Dimuzio: Guitars
Olivier Pinard: Bass
Cattle Decapitation have never shied away from confronting the awfulness wrought upon the natural world by the human race, and Death Atlas is their bleakest offering to date. The cover art says it all, a stooped, skeletal Grim Reaper carrying the burnt-outhusk of our planet on his back. "The core concept of this record is humanity's insignificance despite what we've convinced ourselves," explains vocalist Travis Ryan.
"That's kind of why this album cover takes place in space, to remind you that 'the universe always finds a way to purge'. In the grand scheme of things, our species ismerely a fleeting thought." Backing this up with a ferocious soundtrack, it's one of the most shocking and unflinching records of 2019, demanding an emotional response, and forcing people to think about their own contributions to the devastation of the planet.
Four years is the longest gap between Cattle Decapitation records, but with one irresistible offer after another coming in, rather than taking time off and focusing on writing as planned, they repeatedly hit the road. The upside to this was that with newmembers Olivier Pinard (bass) and Belisario Dimuzio (guitar) joining Ryan, guitarist Josh Elmore and drummer David McGraw, the new lineup had a better chance to bond aspeople and develop their musical connection, which was only to the album's benefit, and contributed to its inarguably epic feel. "That's just kind of the direction things have been going for years now, pretty much ever since 'Karma.Bloody.Karma' (2006) but it really ramped up with 'Monolith Of Inhumanity' (2012) and on. We had new blood, and
that helped, plus we knew what we were going for, which very much was an 'epic'sound." As intense a listening experience as it is - the word 'extremity' applying asmuch as it ever has when it comes to Cattle Decapitation - there is also a lot ofmelancholy in the melodies, which was intentional. "It's a bummer of a concept and isvery dark and drab, and the cover reflects this as well with the qualities it has. One of my favorite reactions from people has been when they cry at our concerts. It's happened more than a few times, and it's a very primal, very real emotion. If ametalhead is willing to cry in front of other metalheads, you have done somethingamazing and that is evoking a very genuine response from a person. It has nothing todo with being sad, emotional or depressed. It's simply just a very real and true reactionto art that I appreciate very much. That was a big influence to me, personally, while writing this record." It's also a very exploratory record, the band going places theynever have before without compromising themselves at any juncture. Death metal, grind core, black metal, sludge, doom, drone, all of these extreme styles are thrown into the melting pot alongside some more restrained elements, and Ryan's vocals are broader and more fully realized than ever before. "There's a bit of 'actual vocals' on thisone, not just 'the bear and the snake' that traditionally make up extreme metal vocals. Iwant to take things to literal extremes. The highest screech to the lowest of melancholy singing. I've always been a singer to some degree, but there definitely is stuff on herenobody has really heard me do. I don't want to do sounds just for the sake of them,they need to have their place, they need to evoke something."
Sticking with the 'if it ain't broke...' adage, the band reunited with producer Dave Otero (Allegaeon, Cephalic Carnage) and headed into the studio for the most rewarding recording process of their career. "It was absolutely incredible. I've never felt so good about how I sounded, Dave crushed his parts, Josh and Bel killed it, Oli killed it, everyone was just nailing their stuff like never before. This is the first album whereeverything just clicked right into place where it needs to be. We talked about it the whole time, wondering what was going to go wrong, as everything going smoothly and perfectly isn't something we're used to! But it was just the easiest recording we've everdone, by far. Everyone was happy, spirits were up, and we just couldn't be happier withhow things went." Expanding the sound of the record, the band also invited numerous collaborators to come in and work with them. The nine-plus minute closing title track -which Ryan considers to be Cattle Decapitation's finest moment - features Laure LePrunenec of Igorrr and Ricinn, who Ryan regards as a "phenomenal talent", and hercontribution definitely ups the already substantial emotional ante of the track. "We also had help from Riccardo Conforti of Italy's Void of Silence on an intro to the record as well as Dis Pater of Brisbane's Midnight Odyssey, two bands we're huge fans of. We knew these were the guys we wanted to collaborate with to get the right feeling for the record. We enlisted the brass instrumentalists from Italy's Ottone Pesante for somehorns on the Dead Can Dance cover song, 'In the Kingdom of the Blind, The One-Eyed Are Kings' and last but not least, we have the legendary Jon Fishman from Phish lending a narration to the track leading into the title track, called 'The Unerasable Past'.
Jon is a big fan of the band and we were happy to have him come on board with thenarration, as well as a quote off the top of his head that was inspired by the beautifularea he lives in, and recorded under the Maine night sky."
As the band prepares to tour and hopefully reach places they have yet play, what Ryanwants listeners to take away from Death Atlas is clear: "I want people to be shockedinto thinking more about their futures, their loved ones, the pain they're potentiallysubjecting their future generations to. Everyone just seems to live in the now with nocare for tomorrow and that's incorrect thinking as far as today goes. Don't make tomorrow a cancelled check."
~~~~~~~~
"Well over a decade since its inception, CATTLE DECAPITATION has forged its not-so-humble beginnings in veggie gore-grind into one of extreme metal's most relentless forces, encompassing a sound as schizophrenic as their record collections but with a determined lyrical stance resolutely damning the ills of humanity.
With 5 full-lengths and countless tours under their belt as well as having influenced the majority of today's rapidly-growing-in-popularity death/grind hopefuls, CATTLE DECAPITATION continue their own brand of spastic gore-drenched grinding death with their 4th Metal Blade release, "The Harvest Floor" for release on January 20th, 2009. This marks the first release featuring the latest addition to the fold, drummer David McGraw. Fusing 2006's "Karma.Bloody.Karma" writing style with a much anticipated update in technicality, production and brutality, "The Harvest Floor" will undoubtedly be a milestone in the ever-diversifying metal scene that is now dominating the globe. The enhanced portion of the CD version sports an I-pod ready documentary titled "Pandemic: The Damnation Epic: The Making of 'The Harvest Floor'" and the layout reveals the true carnage that the cover art by Wes Benscoter, in it's over the top yet highly conceptual glory, only hints at. "The Harvest Floor" is simply put, an apocalyptic multimedia epic!
No strangers to guest appearances, CATTLE DECAPITATION have enlisted some old friends for guest vocals including Ross Sewage (Impaled/Ludicra) and Dino Sommese (Dystopia/Asunder). The band is also very pleased to announce there is a special appearance by Jarboe (Swans), lending her beautifully haunting voice to the epic death dirge "The Harvest Floor." Jackie Perez Gratz (Grayceon /Amber Asylum) graces a couple tracks with her electric cello and Los Angeles noisician John Wiese also lends his electronic/atmospheric expertise to the album further separating the band from the typical "cookie-cutter" approach applied all too often by today's extreme acts.
"The Harvest Floor" shows a return to the engineering and production skills of Billy Anderson (Mr. Bungle, Melvins, Swans) with a combination of drum recording by Zach Ohren (All Shall Perish, Decrepit Birth) to create a modern but unique sound that is disturbingly pummeling. Holed up in Sharkbite studios in Oakland, CA for nearly a month away from the punishing light of day, CATTLE DECAPITATION hid in the depths and have sprouted new hell with the masterpiece that is... The Harvest Floor." - https://www.cattledecapitation.com
show less
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2367 Shattuck Avenue, Berkeley, CA 94704
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