Home > Music > Cadaver – In Pains (1992)

Cadaver – In Pains (1992)

Have her cadaver!

…Okay, I promise there will be no more FATAL references; go here if you desperately need the fix. Metal touches on a lot of sensitive issues involving violence and sexuality (and the puressence of primitive forests), but juxtaposing “hurr durr rape” with poor tabletop gaming is just wrong.

Digressions aside, Cadaver is one of the rare death metal bands from Norway, but on this album there’s a significant infusion of the black into their style. Their debut (Hallucinating Anxiety) was closer to straight up death/grindcore, while what I’ve heard of their later albums reminds me more of Aura Noir or Dodheimsgard, which makes sense as Apollyon performed on their 2004 album Necrosis. Arguably, this could be considered a companion to At the Gates’ debut – it’s simpler and more aggressive, but it contains its degree of melodic prowess and has occasional cello embellishments.

Even though the album is generally melodic, many of the riffs on here are straight out dissonant, although there are some simplistic, consonant phrases acting as transition material. The drumming, on the other hand, often takes the form of mid-paced blastbeats or slower, more spacious rhythms. The overall effect is that much of In Pains is a morose, intentionally downbeat album. However, when it speeds up, it can be quite aggressive – the major examples of this are “Mr. Tumor’s Misery” and “Blurred Visions”, both of which spend significant portions of their runtime blasting away. Even then, the overall effect of the songwriting is more spiteful than violent.

Added to this are some lyrics about mental illnesses, delivered in a mid-range growl; it doesn’t change pitch or style much, but the actual vocal rhythms are fairly offbeat and unusual. Reading them, I get the sense that they’re well adapted to the music, which employs the aforementioned dissonance and also tosses in a variety of abrupt transitions. The structures follow rather demented paths; whether they be obvious, like the high-pitched, offbeat riffs that characterize much of “Bypassed”, or more subtle like the buildup and abrupt anticlimax of “Inner Persecution”, there’s very little that isn’t warped in some fashion. Compared to an album like The Red Chord’s debut, though, Cadaver’s songwriting is almost formulaic. A band like The Red Chord jumps around a lot more due to their significantly increased hardcore punk influence. They also have a similar lyrical approach, but Cadaver tends to go for the narration approach, while TRC employs stream of consciousness stuff that probably sounds more demented. Either way, despite trying to sound like insanity, Cadaver is more orderly than you’d expect. Definitely an album you’d enjoy if you’re into that odd grey area between death and black metal that seemed to spawn the Gothenburg scene; stuff like At the Gates, Merciless, Sentenced fit that mold nicely as well, although this is definitely darker and more decrepit.

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