Fans of this band might be anticipating a surprise with this disc, as CODC»s lineup has changed considerably since they released «The Genocide Machine» in 2001. The band’s drum and bass slots were vacated during the intervening years, but they were only able to obtain one replacement, that being drummer Mike Rosswog. Rather than wait for a new bassist to come along, original members Joe Horvath (vocals) and Jason Andrews (guitar) decided to move forward with the recording of their fourth opus, «Human Harvest».

After listening to this album for a mere thirty seconds, it becomes apparent that the absence of a bass player has only amplified CODC’s insatiable hunger for pure aural savagery. After a brief sample of spoken dialogue, the listener is treated to the equivalent of a 12-gauge shotgun going off in his face. It all starts with Andrews’ guitar riffs, which have evolved into a presence that is blunter and and more forceful than in the past. Fans of the sharper, more precise riffs that adorned «The Genocide Machine» might initially find his new style to be less appealing, but this will likely change with repeated listens. Where the previous record was technically satisfying due to the clarity of the guitar tracks, » Human Harvest» is a bit foggier and more dense. In fact, it may be necessary to scan backwards after certain passages just to figure out what the hell is going on. This is especially true on the first and third tracks (»A Family Tree To Hang From» and «Salt Rock Eyes», respectively), where the mix is thick to the point of near-suffocation. But the band somehow allows this potential flaw to become an asset, in that it creates an impenetrable atmosphere which enhances the album as a whole. With this simple bit of groundwork laid out, CODC proceeds to immerse you in a world of frightening extremes. Whether it’s the brutally short (3-5 second) disintegration of tracks like «No Tolerance For Silence» and «White Trash Headache», or the perverse intermingling of grind and truncheon-swinging doom on «Harvest at Dawn» and «Corsage of Fresh Meat and Rotting Pride», this disc is an unmitigated assault against moderation and restraint. «Mother Pig» is one of very few disparate tracks on the album, as it features the aforementioned grind/doom duality, but with a liberal dose feedback and caustic shrills laced throughout.

Several people have already pointed out the supposed parallels (both thematic and musical) between «Human Harvest» and Pig Destroyer’s «Prowler in the Yard» album. Such comparisons aren’t entirely fallacious, as there is a sort of familiarity in how the tracks flow. Both records evoke a sense of manic urgency with their sudden tempo changes, abrupt stops and starts, and overall style of songwriting (which might best be described as «stream of conscious»). Releases such as these don’t appear to be overly calculated, as the musicians are clearly pulling inspiration from the gut, rather than spending countless hours trying to think everything through. Here is where the sheer brilliance in these bands clearly shines through; their instinctive approach to writing and playing doesn’t necessitate a lapse in tightness or execution. With this release, CODC once again proves that beauty and brutality can (and often does) walk hand in hand.

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