One could be forgiven for dismissing a band who name themselves 'Cattle Decapitation' as another band attempting to use shock imagery to sell records. Metal is rife with examples of explicit pictures, band names and lyricism - Black Sabbath, Venom, Rotting Christ and Cradle of Filth have all in their way contributed to break the boundaries of taste. However some bands use shock tactics in attempt to bring enlightenment to their audience and Cattle Decapitation is, without doubt, in this category. Rather than art for art’s sake, their music has a pro-vegetarian/anti-human message.

If you happen to disagree with their politics, it will not taint your enjoyment of Cattle Decapitation’s 'Karma Bloody Karma', since Travis Ryan’s death growls mean that unless you study the lyrics it is unlikely that you will understand much. If you like the blood and guts imagery that will add to your enjoyment, and if you do agree with the band’s political leanings then that adds yet another level to your enjoyment.

But what of the music? Cattle Decapitation have been around since 1996. 'Karma Bloody Karma' is their third album and over ten years it is clear the band have been able to fine-tune their skills as musicians.

Although the band are listed as gore-grind, 'Karma Bloody Karma' is death metal, reminding me of Deicide with its slightly erratic composition and time changes. Although I respect Deicide more than I used to (which isn’t saying much, since I couldn’t stand them for a long time), I have to say that I favour Cattle Decapitation of the two since they seem to have a stronger sense of structure.

'Karma Bloody Karma' is a heavy, aggressive album with lots of interesting things going on - as mentioned above it has a slight messiness but there are plenty of hooks with which the listener is drawn in. It is fast at times but does not attack the listener with unvaried speed and aggression like a road drill, which is not something I could tolerate for an entire album.

I have listened to the album several times but have failed to pick out any particular tracks as being a favourite - they are, with a few exceptions, much of a muchness but they are all first-rate. 'Alone In The Landfill' stands out with the spooky atmosphere of the second half of the track, and, together with 'The New Dawn' provides a slightly more melodic sound to the fabulous crash, bang, wallop style of the rest of the album. The final track, 'Of Human Pride & Flatulence' is a bizarre vocal and guitar piece which rounds the album off.

****½

Review by Amanda Hyne

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