Lucid Interval To See Re-Issue

Posted: August 6, 2011 in metal

CEPHALIC CARNAGE will see the official re-issue of the fan-favorite Lucid Interval album this September via Relapse Records. The Lucid Interval re-issue features expanded packaging and a previously unreleased bonus track. Lucid Interval will be available in stores once again starting on September 13th. Additional information and pre-order options can be found here.
Additionally, CEPHALIC CARNAGE have partnered up with label-mates EXHUMED for two-months of international touring this fall. The two bands will head to Europe in early October for a tour that will kick-off with a performance as part of the Way of Darkness Festival in Germany. Following, CEPHALIC CARNAGE and EXHUMED, along with Louisiana’s GOATWHORE, will embark on a four-week North American tour

08/06/11 Las Vegas, NV United States Cheyanne Saloon
w/ Exhumed. Macabre, Withered
08/07/11 Hollywood, CA United States The Key Club
w/ Exhumed. Macabre, Withered
10/08/11 Lichtenfels, Germany Way of Darkness Fest
10/09/11 Osnabrück, Germany Bastard Club
w/ Exhumed
10/10/11 Berlin, Germany Comet
w/ Exhumed
10/11/11 Hamburg, Germany Hafenklang
w/ Exhumed
10/12/11 Copenhagen, Denmark The Rock
w/ Exhumed
10/13/11 Brussels, Belgium Magasin 4
w/ Exhumed
10/14/11 Tilburg, Netherlands 013
w/ Exhumed
10/15/11 Munchen, Germany Feierwerk
w/ Exhumed
10/16/11 Prague, Czech Republic Exit Chmelnice
w/ Exhumed
10/17/11 Vienna, Austria Arena
w/ Exhumed
10/18/11 Ljubljana, Slovenia Gala Hala
w/ Exhumed
10/19/11 Rome, Italy Rock Club
w/ Exhumed
10/20/11 Romagnano, Italy Rockand Roll Arena
w/ Exhumed
10/21/11 Bochum, Germany Zwischenfall
w/ Exhumed
10/26/11 Gallup, NM United States The Juggernaut
w/ Exhumed, Havok
10/27/11 Amarillo, TX United States Sorority House
w/ Exhumed, Havok
10/28/11 Oklahoma City, OK United States The Conservatory
w/ Exhumed, Goatwhore, Havok
10/29/11 St. Louis, MO United States Fubar
w/ Exhumed, Goatwhore, Havok
10/30/11 Chicago, IL United States Reggies
w/ Exhumed, Goatwhore, Havok
10/31/11 Detroit, MI United States I-Rock
w/ Exhumed, Goatwhore, Havok
11/01/11 Columbus, OH United States Al Rosa Villa
w/ Exhumed, Goatwhore, Havok
11/02/11 Rochester, NY United States Montage Music Hall
w/ Exhumed, Goatwhore, Havok
11/03/11 Toronto, ON Canada Wreck Room
w/ Exhumed, Goatwhore, Havok
11/04/11 Montreal, QC Canada Les Foufounes Electrique
w/ Exhumed, Goatwhore, Havok
11/06/11 Quebec City, QC Canada Cafe-Bar L’Agitee
w/ Exhumed, Goatwhore, Havok
11/08/11 Worcester, MA United States Palladium
w/ Exhumed, Goatwhore, Havok
11/09/11 Brooklyn, NY United States Europa
w/ Exhumed, Goatwhore, Havok
11/10/11 Trenton, NJ United States Championship Bar and Grille
w/ Exhumed, Goatwhore, Havok
11/11/11 Wilmington, DE United States Mojo 13
w/ Exhumed, Goatwhore, Havok
11/12/11 Baltimore, MD United States Sonar
w/ Exhumed, Goatwhore, Havok
11/13/11 Charlotte, NC United States Casbah @ Tremont Music Hall
w/ Exhumed, Goatwhore, Havok
11/14/11 Atlanta, GA United States Masquerade
w/ Exhumed, Goatwhore, Havok
11/15/11 Tampa, FL United States Brass Mug
w/ Exhumed, Goatwhore, Havok
11/17/11 New Orleans, LA United States Siberia
w/ Exhumed, Goatwhore, Havok
11/18/11 San Antonio, TX United States Korova
as part of Goregrowler’s Ball
11/20/11 Flagstaff, AZ United States Orpheum Theater
w/ Exhumed, Havok

  1. Grindcorefan says:

    I’ve got a steamy little nugget of truth for all of you dedicated Pitchfork readers: heavy metal is the counter-culture’s answer to chain-smoking. This is absolute gospel truth. Try as we might, and directly in the face of myriad warnings telling us to stray from the ills of cigarette smoke and those fire-branding demons of metal, there are still thousands upon thousands of us sucking down butts and banging our heads like morons every single day.

    With Surgeon General’s warning labels, The Insider, iron lungs, and television commercials featuring skinny hipster kids on street corners trying to convince us that Philip Morris is still pulling the wool over the eyes of a few muddle-headed sheep, we’ve got ample incentive to avoid those delightful little cylinders of tar like the plague. But every once in a while, something comes along to rekindle the flame. Whether it’s a fantastic metal album or a found carton of Chesterfields, we’ll take the opportunity to heave the largest cloud of nicotine right in your faces, because we know it prays upon your puritanical self-hatred, and in plain black and white, we know you hate it.

    Fortunately for those who enjoy blowing smoke in the faces of their friends and family, an ultra-carcinogen called Lucid Interval was created this past August, by gore-metal Ubermensches Cephalic Carnage. Mutating equal parts grind, fusion jazz, prog, and hardcore might seem ludicrous– it’s bombastic, loud, and impulsive– but this is one of the most brutal, technically sophisticated, and unabashed Metal records I’ve heard in a very long time.

    Stretching death metal to its absolute limit has always been the primary interest of Colorado’s Cephalic Carnage. Previous releases Conforming to Abnormality and Exploiting Dysfunction laid the groundwork for this genesis to absurdity, combining the gory brutality of their peers in Cock and Ball Torture, the death metal comedic ethos of Cannibal Corpse, and the sweeping chaos of Exhumed. Lucid Interval finds Cephalic Carnage pushing its earlier dynamic to the fullest extreme, with mind-blowing results.

    From the opening seconds of “Scolopendra Cingulata”, it’s painfully apparent this album is an aneurysm waiting to happen. Introducing high frequency trepanation in the vein of Whitehouse, a meticulous grind and seismic bass slowly give way to the horrifying growls of vocalists Lenzig (lead vocals) and Jawash (also on bass) during the album’s second track, “Fortuitous Oddity”.

    Lenzig has the ability to move between the guttural growls of grindcore– the kind of stuff that sounds like a herd of pigs slaughtering Farmer Bill and his wife– and the high-pitched screams of noisecore, while the band follows every vocal nuance apace. With violent death metal riffs degenerating into mock blues, then back to blistering hammerbeat in a matter of seconds, Cephalic Carnage have taken a fairly conventional New York death metal aesthetic and twisted it into a sound so much more advanced and sinewy than that of their contemporaries. Drummer John (who oddly enough bears a passing resemblance to Moby) blasts through double-kick and syncopated jazz licks with mathematical precision and power, while guitarists Zak and Steve race up and down the fretboard inexhaustibly. There’s nothing close to a missed note here, no indication of timidity or restraint: Lucid Interval is simply a brutal, a furious, abrasive forty-five minutes of the very best experimental grindcore.

    This is an album of faux starts and stops, limitless innovation, and full-on cranial overload. “Pseudo” is their foray into avant-garde jazz territory, replete with sounds pulled right out of the Mego catalog; the humorously titled “Black Metal Sabbath” combines that genre’s shrieks with the stoner drone of labelmates High on Fire. The title track features Swedish metal crescendos in the style of Marduk and Bathory, while “Arsonist Savior” utilizes gore-grind electronics– a la Catasexual Urge Motivation– and the power chord harmonics of Incantation. Hell, there’s even a fifty second mariachi interlude called “Cannibism”.

    For all you metalheads and smokers out there, sit back, light up, and enjoy this masterpiece from Cephalic Carnage. Lucid Interval displays the band’s full panoply of disparate styles and influences with deft originality and quality, sans any indication of softening its brutal exoskeleton. In case anyone around you starts to cough, wheeze, or gasp for breath, remember the immortal words of Bill Hicks: “non-smokers die every single day.

    By Isaiah Violante; January 27, 2003

  2. Grindcorefan says:

    Summary: Whether they’re pushing the boundaries of speed and technicality with their signature hydro grind, cramming hundreds of musical styles in one song, or making fun of scenesters ala numerous musical parodies, Cephalic Carnage remains one of the most origina

    9 of 10 thought this review was well written

    Chances are you’ve heard of em;Napalm Death, Carcass, Terrorizer,Repulsion etc. These forefathers of Grindcore who made their initial *** stain on the music industry in the mid to late 80’s started what most would consider the first real wave of Grindcore. The fates of the aforementioned bands are widely known. ND went on to play some washed up moshcore for most of the 90’s, Carcass went on to pioneer bigger and better things, and terrorizer and Repulsion seemed to fall off the face of the planet. So the question is…What’s next? The genre didn’t just wither away and die.

    I gather it would be safe to say that many of you know what’s next. ND influences a ton of bands (Assuck, Phobia, ENT), Carcass spawned an army of goregrind bands, kids started mixing hardcore and extreme technicality ala mathcore, but in my opinion the greatest thing to happen to Grindcore was the addition of death metal. Brutal Truth was one of the first to test these new waters and Grind-Gods like Nasum soon followed suit. This call to experiment seemed to really catch on.

    Enter cephalic Carnage… and here’s where my fledgling grindcore history lesson comes to a halt.

    Now a little bit about the band. Cephalic Carnage formed in 1992 and released it’s first dash of what would later be known as “Hydrogrind” in 1994 with the oddly titled “Scrape my lungs” demo. Fast forward several demos, splits, and a messy full-length to 1998’s “Exploiting Dysfunction.” This album really hit the extreme metal scene hard. The record’s core is definitely Grindcore, but just add a dose jazz, death metal, devastatingly odd time signatures, and some flamenco and you might be able to get an idea. Now with a strong fanbase awaiting a follow-up, CC had to deliver. After two splits and four years CC released their crowning achievement entitled, “Lucid Interval.”

    This classic kicks off with “scolopendra cingulata,”a mid paced, almost doomy instrumental wielding an infectious groovy riff and then “fortuitous oddity” leaves you in the dust with its 100 mph Grind assault. Then comes “Anthro Emesis,” a tune about Roman brutality (interesting topic for any extreme band) that blurs the line between grind and tech death. The next couple of songs range in length but continue the trend of being super expeditious and technical.

    When “Black Metal Sabbath” begins you better brace yourself for something a bit different. I could be wrong but it’s most likely a black metal parody. Lenzig’s vocals switch over to a more raspy scream and lyrical content deals with more “evil” matter. What really expresses the eccentricity of the song is the last couple of minutes which are totally stoner rock. It would make a lot more sense if it were two different songs. But that’s not what they’re all about. A Grindcore band writing a black metal song that stops short and becomes a stoner rock song would probably seem like a really “gnarly” thing to do especially if you’re high as a kite which Cephalic Carnage most likely was when making this album.

    To continue the trend of insanity “Cannabism” displays a sort of folk acoustic side of the band. It’s weird, I’ll give ’em that. It’s probably the only track I would skip on the whole record. All in all its only forty-five seconds long and it helps add to the unconventional aura the album possesses. The next song, the title track, is widely considered the gem of CC’s discography and for good reason. It starts out with an atmospheric riff that could only be Cephalic Carnage and just blasts its way through an amalgam of fretboard wizardry and all around technicality and dissonance that would remind a normal person of the harmonious sounds a washer and dryer would make as the neighborhood dogs bark at passing buses (Ok, maybe I exaggerated a tad, but you get the picture). The truly freaky thing about the song though, is that it’s highly memorable.

    The album closes with “Arsonist savior.” It’s over twenty-one minutes long. The first five minutes is another great example of CC’s signature grind. It’s as blistering as it is quirky and there’s even some prog-ish clean vocals thrown in. Basically the song ends and you get treated to several minutes of silence until some strange noise kicks in and the song ends with a long, dissonant instrumental done in true CC fashion. Ultimately, it’s an apt closer to this monolith of an album.

    Basically, if you’re into extreme music and you crave something different (huge understatement) you should try out “Lucid Interval.” If you’re interested in these guys and you’re wondering where to start,look no further, this is the album to start with. So sit down, spark up a blunt, throw this beast in your stereo, and enjoy.

  3. Grindcorefan says:

    I’ll start out by saying I own or have owned most of Cephalic Carnage’s albums at some point in time, largly because for a long time I hated the band, but wanted to get into them so badly that I downloaded “Exploiting Dysfunction” and hated it, then downloaded “Xenosapian”, and hated it, then I downloaded “Lucid Interval”, and something clicked.

    Regardless, I was obsessed. I loved them so much that I bought “Anomalies” shortly after and loved every minute of it as well. I think it may have been the band’s vast abilities. In example, “Pseudo” mixes grindcore and modern overly technical death metal, while the title track takes a more Death-style of Tech death, with more emphasis on melody. Also, “Black Metal Sabbath” is notable, for it’s use of Black metal and Stoner/sludge metal.

    There is a large use of “epic” tracks on the album, with those tracks being “Anthro-Emisis”, “Pseudo”, “Black Metal Sabbath”, “Lucid Interval”, and “Arsonist Savior”. Unfortunatly, these are arguably the only songs worth listening to, as many of the other songs are uninteresting and sound as though the band wanted to make sure everyone remembered they were a grindcore band. They contain everything the other songs contain and more.

    I would be rating this much higher if the band hadn’t released two shit storms before this, and it’s really sad that it took them 2 full length albums before they finally made a good cd. Oh, well…

    Anyway, all in all, it’s a good purchase. It’s forgettable in moments, but any true grindcore fan should be used to that, and also it contains many flaws, but what album doesn’t **cough*Colors*cough**? It’s not essential in any way, but that doesn’t keep it from being fun!

    – TheSunOfNothing, March 26th, 2009

  4. Grindcorefan says:

    I really, really, really want to love Cephalic Carnage. These 5 guys from Colorado are incredibly talented musicians and have quite a few fresh ideas to bring to the rapidly collapsing death/grind genres. Problem is that much of the first half of this album is spent treading water. There’s a whole lot of ‘brutal’ mosh-death [Suffocation worship] to be found amongst the first few tracks on Lucid Interval, and that’s not something that can’t be heard from dozens upon dozens of other newer death metal bands. Actually, there are moments of sheer brilliance in the early part of the album as well, namely in the form of Human Remains-esque jazzy atonality, but unfortunately these early spurts of ingenuity are generally brief [the exception being on the song ‘Pseudo’, which sounds like an evolved version Human Remains, broken up by an odd ambient segment in the middle.]
    It’s not until track 9, ‘Black Metal Sabbath’ that Lucid Interval really comes into its own. This song is a very playful composition that seems to be intended as a parody of both Black Sabbath and the black metal genre [lyrically and musically] but ends up being quite a bit more worthwhile with the first half being primarily high-note tremolo picked [emulating stereotypical Scandinavian black metal riffing] and the second half breaking down into a piece of post-Sabbath sludge rock. Despite being split into halves like this, ‘Black Metal Sabbath’ still comes off far less disjointed sounding than much of what preceeds it on this album, and sets the tone for the last 4 songs on the album [‘Cannabism’ is a very short and very strange, folksy acoustic piece], which exhibit influences from an eclectic mix of sources [everything from At the Gates to John Zorn to Brutal Truth to Candlemass] and constantly keeps the listener off-balance, without sounding contrived, and eschewing almost entirely the death metal generica that plagued the early part of the album. The final listed song, ‘Arsonist Savior’ is especially bizarre – a bombastic casserole of just about every style of non-mainstream music that you could think of [it goes far beyond the handful of influences listed above, covering grindcore, jazz, funk, psychedelica, prog-rock and everything in between], but stranger still is the fact that there’s a flow and coherence to this track that one certainly wouldn’t expect from something so avantgarde. And then there’s that “hidden” track at the tail end of 7 minutes of silence, which is an outright fusion jam session, and a highly enjoyable one at that.
    Certainly, it’s not fair to lump Cephalic Carnage in with the mediocre field of American death metal and grind bands. The latter part of Lucid Interval features some of the most varied and adventurous music to challenge the extreme metal world this side of Japan’s Sigh, the Czech Republic’s !T.O.O.H.! and Canada’s Gorguts. But still, you have to look at the big picture and see that there are times on this album where it sounds like you’re listening to just another NYDM band. While this element of the band’s sound could be simply a clever ruse to hook fans of that genre, before pulling the rug out from under them with the kind of progressive trickery that pervades the last several tracks, I’d personally prefer it if they’d minimize that aspect of their sound in the future and give us more songs along the lines of ‘Black Metal Sabbath’, ‘Pseudo’, ‘Arsonist Savior’ and ‘Lucid Interval’. In any case, if you like variety in your metal, I recommend at least giving this Cephalic Carnage offering a listen. There will probably be parts that you won’t like, but the originality that rears its head about midway through the album is plenty enough to make this band stand out like that guy on the cover of Among the Living. These guys haven’t totally got it together yet, but when they do, it’ll be something spectacular. It’s also worth mentioning that shortly after this album was released, Cephalic Carnage put out a single-song, 19-minute EP titled Halls of Amenti on Willowtip Records, which is an excellent piece of ultra-heavy doom metal and also well worth picking up.

    – HowDisgusting, January 31st, 2004

  5. Grindcorefan says:

    By Chris Gramlich”I’m very anxious to see how people are going to receive Lucid Interval. I wonder if we’re going to gain an audience or lose an audience,” says Cephalic Carnage’s bassist Jawsh. When Cephalic Carnage released their Relapse debut, Exploiting Dysfunction, it was a statement that much like what label-mates the Dillinger Escape Plan we’re doing for the metallic hardcore scene, Cephalic Carnage we’re capable and willing to do to the often floundering and stagnant world of death/grind. Still, even as genre-bending and extreme as Exploiting Dysfunction was, few could predict the twisted directions the unit would conquer with Lucid Interval. “There’s no point too far for us,” Jawsh says boldly. “I think eventually it probably will come to that point where someone will hip everybody to the fact that, ‘these guys really aren’t just death metal, and what are we doing listening to them?’ That’s one of the reasons I am apprehensive about the release of this album, because there are a lot of different elements on it that I think a lot of purists are going to disagree with.” What the purists may take offence to is the way that Cephalic Carnage effortlessly and expertly runs the gambit of their extreme influences of hyper-grind, thrash and death metal, tossing in black metal segments, electronic segues, oppressive doom, unrelenting and uncountable stop-start parts, awe-inspiring technical acumen, Southern metal swing, jazz, flamenco guitar and the occasional surf-rock tangent without a second thought to genre continuity. And according to Jawsh, if it makes some people uncomfortable, that’s the point. “We’re getting close [to going too far], we’re writing surf rock and country songs and mixing them with black metal, but there’s no limit to how far we can go. We really pushed the boundaries on this one. We wanted to make ourselves uncomfortable and then get comfortable with it, but with the next album, we plan on pushing the boundaries even further.”

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