Customer Reviews

Heartwork

5 star:		(67)
4 star:		(4)
3 star:		(1)
2 star:		(2)
1 star:		(6)

 

 

I said it before and I'll say it again. I'm not a death metal fan. While I do appreciate the genius of a few groups like Death, Opeth, and the long defunct Cynic; I feel most death metal is over saturated with so-called musicians who sacrifice musicianship and imagination just so they can show the world how "extreme" they are. And what they end up doing is sounding like every other band. The underground is full of copycats and trend followers just like the mainstream is. But every now and then a diamond will arise from coal (or at least a bunch of black rocks that look coal). The diamond in the coal pile here being Carcass' Heartwork.

A lot of people like to call Heartwork Carcass' sellout album. For the sake of argument, let's say they're right. Back in 1993, Carcass signed on to Columbia with fellow Earache stalwarts Napalm Death and Entombed. It doesn't take a brain surgeon to understand that a few compromises were necessary in order to bring their music to a broader audience. So some of the group's more blatant characteristics like their graphic lyrical content went out the window. Add to that, the band was now playing songs of accessable length ranging from 3 to 5 minutes instead of the brief blasts of noise that they were (in)famous for early in their career. What could have came out as an over-produced mess actually turned out to be a sonic juggernaut that easily ranks up there with anything 1980s Metallica and Iron Maiden put out. Although frustration with the music industry would prove to be Carcass' undoing (and not to mention the reason guitarist Bill Steer nearly quit music for good), "selling out" turned them into a way, way better band if only for a short time.

Heartwork is an incredible wall of aggression and melody from beginning to end with neither element cancelling out the other. Even though there are no clean vocals, no acoustic interludes, and no lame attempts at a ballad; none of the songs sound alike. Bill Steer and future Arch Enemy guitarist Michael Amott prove to be a duo as great as Tipton/Downing or Smith/Murray. Don't let Ken Owen's short hair fool you. He threw down some nasty blast beats. And bassist/ vocalist Jeff Walker is one of the few death metal vocalists I can listen to. He actually sounds distinctive. So many Death growlers have to either do the unoriginal cookie monster growl or scream like Power Ranger villain Rita Repulsa (yes, Cradle of Filth, I'm talking about you). Walker has a demonic, insectile voice that fits perfectly.

Like I said earlier, Heartwork isn't just a great album from a band that the average music critic thinks is incapable of producing great albums; it's one of the greatest metal albums ever. I recently read an interview featuring Walker in which he states that Carcass will more than likely never reform. And even more saddening was news of Owen's health problems - from which I wish him to get well. Still, Heartwork is something Amott, Owen, Steer, and Walker should be very proud of.

If Beethoven, Bach, Mozart, and Chopin were to get together and record a death metal album, I think it would sound something like "Heartwork." To be sure, "Heartwork" bears many of the marks of a death metal album: it's heavy, it's aggressive, it's typically pretty fast, and the vocals are harsh. However, this album goes down a lot easier than the typical extreme metal album, thanks to Carcass's top-shelf musicianship and doses of rhythm and melody. Probably what I like most about "Heartwork" is that the music is techncial and the arrangments are complicated, but at the same time it manages to be pretty catchy, with plenty of memorable songs. "Carnal Forge" and the title track blaze along at about mach 3, while "No Love Lost" and "Embodiment" grind it out with slower tempos. My favorite here, though, would have to be the heavy and complex "Doctrinal Expletives," which winds its way through multiple tempos and features some inspired guitar work. Jeff Walker's vocals, in contrast to the guttural grunts used by the typical death vocalist (not that grunting is all bad), are a black-metalish rasp that flows very well with the music. It's really guitarists Bill Steer and Michael Ammott that make this album, though. They contribute plenty of catchy riffs and harmonies, and the solos are far more melodic than the typical death metal fare. I saw this album described once as Obituary meets Iron Maiden, and I think that's a pretty apt description. If you want to hear something that's extreme but still accessible, look no further. And be sure to check out Mike Ammott's current band Arch Enemy, who rule as well.

The quintessential melodic death metal album, _Heartwork_ is simply one of the most popular and important metal releases in all of the 1990's. If ever there was a metal album which should be included on top 10 lists, _Heartwork_ would be it. On this album, Carcass effortlessly marries the perfect amounts of heaviness, technicality, melody, and catchiness - all the ingredients which make for high-quality heavy metal sound.

Hailing from England, Carcass is a band that incorporates more than just heaviness into their music. They have enough technical capability, originality, and songwriting skills to dazzle and amaze just as easily as they can cave the listener's skull in. Each of Carcass' members is highly talented at their subjective musical contributions. Guitarists Bill Steer and Michael Amott (the latter well-known for his later work in Arch Enemy) are a tight duo, shredding at their instruments with stunning speed and brutality; all at once, however they create flowing, often beautiful, melodies - perhaps the most significant quality of Carcass' sound. Jeff Walker's bass rhythms, while not particularly prominent, are nonetheless integral to Carcass' sound (one of his shining moments is on the title track, during the post-intro melody). Jeff is also the group's vocalist; generally belting out an alto-range growl, his voice is quite harsh, adding new dimensions of ferocity to the music. And drummer Ken Owen is nothing short of amazing as he thunders out some of the most intricate and captivating percussions that metal could ask for.

Having already established themselves as pioneers of the grindcore genre with their previous three albums (1988's _Reek of Putrefaction_, 1989's _Symphonies of Sickness_, and 1991's _Necrotism: Descanting the Insalubrious_), Carcass took a bit of a departure from their usual style with 1994's _Heartwork_. The songs are every bit as intense and crushing as before, but with much more emphasis on melody. Take, for instance, "This Mortal Coil," with its propulsive drum beats, brutal riffs, and galloping tempo; the song only lessens its brutality in the breakdown, where it slows to a mid-tempo rhythm as Michael's and Bill's leads slice in with fluid precision. "Doctrinal Expletives" starts with a devastating metal salvo, which quickly breaks into a catchy lockstep rhythm and brilliant leads scattered throughout. "Blind Bleeding the Blind" has some great vocal work, namely when Jeff makes a chilling snarl in the first verse. Opening track "Buried Dreams" sports some great double-bass drum beats and a repeatedly changing series of melodic guitar riffs. The drumming on all the songs is a particular treat when listened to on headphones, well-emphasized by the excellent production (kudos to Colin Richardson); it's easy to hear the various cymbals and hi-hats crash all around the listener's head, the double-bass pedals thundering from below, and seemingly from within come the blasts of the snare and toms. All in all, every song on _Heartwork_ leaves the listener's mind in the clouds...and their body in ruins.

Each song is greatly deserving of high praise; indeed, that is why this album is such a good album as a whole. Even those who are not so fond of death metal vocals would (and so often do) hold this album in high respect. _Heartwork_ is heavy metal in its finest form, and now, over ten years after its release, it is still, without a doubt, a heavy metal classic.

On "Heartwork" Carcass has redefined nineties metal by paying homage to old school influences while injecting their own dose of originality to the genre of thrashing metal when it seemed to really need it most. At a time when other established thrash bands were refining their sound for a more expansive audience, Carcass delivers the goods in grand fashion. opener "buried dreams" begins with a jarring catchy riff, with just the right touch of melodic six string melody which gives Carcass their unique sound, followed by "carnal forge" (a strong influence on fellow countrymen and great new band of the same name) which is a straight up no nonsence pounder in the tradition of classic Slayer. "No love lost" incorporates a classic rock sort of groove without compromising the heaviness, while the title track and "Embodiment" chug out brutally hulking riffs and guitar licks. An entire slew of influences are obvious, from the slayeresque thrashings to the Maidenish/Priest like twin guitar leads (a really cool "breaking the law" type lick appears in "Embodiment") and this combintion of influences, when combined with a unique high end melodic guitar attack, result in memorable and shredding yet refined and slick riffage. The vocal delivery is typical Swedish death metal, but Carcass is NOT a death Metal band. This is pure thrash, with a touch of class. fans of new In Flames, Arch Enemy (which features former carcass guitarist Mike Ammott) At the Gates,and even hypocrisy have Carcass to thank for shaping the mold of the original "Gothenberg" scene. this will also please fans of Slayer, old Metallica, Judas Priest, Iron Maiden and other Power Metal units of the late eighties, as well as the bay area thrashers Exodus and Testament. "Heartwork" is an essential addition to your thrash/heavy metal collection.

'Heartwork' is stunning. I've had this album since the day it came out and I've listened to it countless times... easily over 1000. There is not a bad song to be found. I've been a metal fan since the early 80's, I own hundred of CDs, and this is simply one of the best. The guitar work is exquisite with solos that literally immerse you in emotion. In my opinion, nothing has even come close to this album since its release. The biggest musical disappointment of my life was when I heard news that Carcass disbanded. Of course, its hard to imagine them topping this effort anyhow. While I believe 'Swansong' had some decent songs, it just doesn't stand up to Carcass' earlier works. It would be impossible to pick a favorite song on 'Heartwork'. Its that good. Also, their previous album 'Necroticism' is an amazing work. More brutal than 'Heartwork' to be sure, however the songs are incredible. If you are a metal fan, and you do not have this album, buy it now. Then buy 'Necroticism'. ;)

It's always amused me that so many people label this as Carcass's "sell-out" album. So what is wrong with having a solid production effort, and providing a more melodic approach to what at the end of the day is still an extremely hard-hitting and mind-numbing sound? Make no mistake, this is still Carcass in all their glory, but that is what sets them apart from so many of their contemporaries in the genre; an ability to adapt, develop and ultimately to not take themselves too seriously.

"Heartwork" sees the band drop the medical dictionary fixated lyrics, but the music is still as heavy as it ever was. Bill Steer's guitar work in particular on this album is peerless. From the musicianship on display on this album, right down to the HR Giger cover art work, this is a band at the height of their powers, and the finished product is certainly one to be savoured if you like your music hard and uncompromising. An absolute must!

Carcass - It is unbelievable how much I heard this name (as well as the title 'Heartwork') before actually hearing the band. I knew they were a spin-off of the legendary Napalm Death; I did not know however, how much this album could single-handedly eclipse anything Napalm Death (or any Grind band) had ever put together. This album is more than just 'melodic grind' as some have put it; it is a metal milestone. "Buried Dreams", the opener, is by far one of the best placed openers ever. The opening riffs of Ammot and Steer play off of each other, echoing what the other had done. Then it goes into full-on thash mode; this is a great song, and is actually catchy, something that grind is the contrary to. Then there are other stunning numbers like "Emodiment", a song which begins slow and staccato, foreshadowing the doomy feeling that is to come. "Death Certificate" is a great song, fansastic lyrics, masterful structure. And then of course there is "This Mortal Coil", a song which is considered by many, including myself, to be one of the finest heavy metal songs of all time. It uses melody like no other, going from mid-paced and gradually becoming thrasy and ferocious. The lyrics are wonderful, and Walker is a great front man, he adds so much to what can be considered "puke-like growls".

What makes this album so amazing is the fact that it is not just a 'grind-core' album. It is a metal album. It has the ferocity and grunted vocals of death, grind, and thrash. It has the technicality of prog and jazz. The lyrics are above, way above, what most metal bands are capable of. The production redefines the definition of "flawless production". Think of this album as Morbid Angel's "Alters of Madness" pro-creating with Megadeths "Rust in Peace".

This album is amazing in every way. Beautiful solos and harmonies laid over both slow, insanely heavy riffs ("Embodiment", parts of "Blind Bleeding the Blind", etc.), and tempestous, technical riffs (Arbeit Macht Fleisch, parts of the title track, etc.), complimented perfectly by Walker's rasps.

There is no filler here. Every song has a unique feel to it that somehow doesn't detract from the cohesiveness of the album.

The medical terms are still here, but here they're used less to create a mental image in the listener's mind and more to make a point about something, be it about the seeming futility of romance, being repressed by one's own beliefs, or the selfishness of humankind.

If you've ever enjoyed a melodic death metal album in your life, you need to pick this up.

I still remember the first time I heard Carcass. I walked lazily past a listening station inside Tower Records in '94. Although the album cover was unassuming, I was drawn by the band name, and being that I was heavily into Slayer, I put the headphones on for a listen.

Honestly, I played the first 30 seconds of each song, and the only one I really connected with was "Heartwork". Still, the mixture of technical ability and outright pummeling at the start of this track was enough to empty my wallet.

Until two years ago, I would throw this album on to listen to "Heartwork" and the infectiously groovy, yes GROOVY, "Arbeit Macht Fleisch" whenever my fiery mood needed an exceptionally lethal injection of fuel.

Now, in my older and more mature years, I recognize the start to finish genius of this album.

I have heard most every Carcass song available to the masses, and where the vintage albums began to build a legacy, Heartwork solidified it. So what that they signed a major label deal! So what that they dropped the excessively bloody and graphic lyrics!

Please tell me which song on this album could ever garner widespread acclaim and acceptance. Have you ever seen the record sale numbers that make our beloved "underground" metal bands proud?

60,000 sold, yes!!!!!

That's a drop of guano compared to those who officially "sell-out". Carcass released an incredibly mature album of undeniable mayhem and decimation, and people complained.

As for the lyrics...yes, the gore is mostly absent. But please, read the lyrics! Songs like "Carnal Forge" recall familiar Carcass content, while "No Love Lost" boasts such thought-provoking lines as "Without emotion, your heartstring's played, strummed and severed to the tune of a tragic serenade. Without emotion, your hearstrings break, snapped and severed to the tune of a tragic, sad cliche."

Freakin' awesome.

To me, the selling point of Carcass was always the bounty of catchy hooks/riffs. There are as many here as on any other album. In fact a big slap is dealt to all doubters right at the :19 mark of track one, as the dual guitar attack presents a menacing, perfected amalgamation of grindcore and melodic death.

The longer track lengths also showcase the writing ability of Mr. Amott and Mr. Steer. The standard, extreme hooks morph into seemless rhythm measures which give the two guitarists a foundation to explore the realm of soloing and melodic progression. The 1:14 point in "Carnal Forge" is a perfect example of this as Amott plays a tight pattern while Steer dances and bends along the fretboard. By the 1:48 mark, the axes combine to unleash one of the catchiest and malevolent riffs on the album. Before the song ends, Amott throws down a lead that almost puts Steer's to shame.

I cannot think of one reason, other than liking only metal that is so extreme and cacophonous that one would rather room with 5 lepers then be touched by anything melodic or "catchy", to not give this album a try. In a possibly understated revolutionary move, Carcass released an album of unquestionable brutality that would be talked about like no other extreme album before...not in the world of metal...but in the world of music. Transcending the impressive, yet still more readily digestible offerings from bands like Slayer, Metallica, Sepultura, and Megadeth, Carcass thrust its head through the bottom level floorboards of mainstream music, and announced the arrival of a beast worse than the wildest nightmares of the people in the room.

For those who cry "Sell-out!", I have one question. Can a band not progress? And when the progression is this damn good why complain? I mean Death and Napalm Death both progressed in style and sound over the years and never were the accusations of selling-out as loud...But I digress.

This album easily ranks in my top 10 Metal albums of all time and as far as I'm concerned it was the next stage in Carcass evolutionary progression. I love Necrotiscm...Descanting the Insalubrious. The combination of Sludgy C-Tuned riffs, light-speed solos and morbidly humorous lyrics make it an excellent album.

But it is Heartwork that I keep going back too. From the opening Buried Dreams it is clear that this is a band on a mission to make the best damn album of their careers. And they suceed. Highlights are plentiful - my picks are Buried Dreams, Heartwork, Arbeit Macht Freisch and Blind Leading the Blind (the solo trade off at the beginning is classic). Michael Amott and Bill Steer trade fluid guitar solo lines over crushing warp speed riffs (e.g Heartwork) and sludgy grinding mid-tempo numbers (e.g No Love Lost). Drumming colossus Ken Owen cements his reputation as one of the best(and most underrated) drummers in Metal with a phenomenal performance and as always Jeff Walker's accessible rasping vocals adds an air of the sinister to proceedings as he barks out much more listener friendly lyrics than on previous albums. Kudos to Producer Colin Richardson whose work showcases the undeniable power and ferocity of the band. Apparently the guitar parts for this album were actually not recorded in the studio but on a smaller demo type recording rig in one of the band members attics!

All in all a fantastic album by a band at the top of their game. Swansong wasn't a patch on this album which is, in my opinion one of the top Metal albums of all time. Many of my friends who detest Death/Grind love Heartwork because while it is accessible it is still bloody heavy.