Review Summary: While the lyricism here is not what you could call " brilliantly proficient" or "expertise", the chewy guitar riffs and tight blend of electronics (though little), brush it aside and make for an intense ride for Static-X.1 of 1 thought this review was well written
Static-X are easily one of the most ruthless and musically violent group I know of, and their album Cannibal
exemplifies this almost entirely. With the sleek combination of electronics and pulsating, absolutely menacing guitar riffs shown here, it’s almost prominent that you could the general gist of the album is rather dark and merciless. Personally, I believe this is possibly their best release to date, as the production here is smoother and the choruses are beefier and more gripping compared to their other “albums” (or should I say complete eyesores). Despite the somewhat critical backlash this album has had, it actually was quite popular chart wise, mostly due to their single ‘Destroyer.’ Although the song was somewhat simple in musical terms, it was a fierce and fast-paced jam perfect for almost anyone’s ears to digest. Honestly though, depicted here we have Static-X at a more robust and full-bodied stance as not seen from their previous/later albums (minus Wisconsin Death Trip).
Furthermore, this is actually one of their first albums to include guitar solos (shockingly enough), and as skeptical as it might seem, they are actually quite good in delivery and execution. But although they aren’t necessarily the most proficient in shredding or fast-trembling (much less two or three long epics), most of them represent an entire new chameleon switch; something that will probably aid you in enjoying this more. Musically, these guys have returned with chugging, steady guitar riffs and Wayne Static’s simple, two-words-a-bar lyrics which is foreseen throughout most of the album; essentially, this is more of the same from the group, but with considerably less electronics. Aforementioned before, though, they even include minimal yet very notable doses of electronics (most being factory-critique sounding beeps and bouncy synthesizers), with them occasionally competing with the riff or drum.
While the electronics come in minimal doses (most being factory-critique sounding beeps and bouncy synthesizers), they are quite the trip and sometimes compete with the guitars and drums, making them sound more action-packed and thrilling. But to be blunt, this album is once again a very radio-friendly album with the playability at a fairly decent range; Cannibal
could also be considered their most heaviest, grimiest album to date too.
There are a lot of great songs here, but are all of them good per say? Not quite. Even though some are unquestionably enthusiastic and perfect for your average metalhead, some are incredibly annoying and lackluster in the musical/lyrical department. Wayne is essentially back with his fairly simple lyrics, but in all reality, sometimes they come out as treacherous and cringe-worthy; most notably on ‘Behemoth.’ The song is definitely aggressive, but the verses and chorus are nothing more than mediocre crap. The chorus consists of this:
“Get Louder, get higher, get true to form, Behemoth
As you can see, this isn’t the most brilliant lyrical piece that this album (or band in general) can offer, but luckily, a lot of the album greatly makes up for it. ‘No Submission’ is a very cold-blooded, addicting track with a blend of electronics and a very hard-punching guitar riff, yielding in a hell of a song. Although ‘Behemoth’ is quite terribly lyrically, though, the song shows the most visible use of electronics; with a very spacy synthesizer in the beginning leading into a smashing track. Although the use of the synth is quite sparse in the beginning, it’s a great breath of fresh air to hear with every listen. ‘Chemical Logic’ is downright brutal, and with the crunchy chorus and stomping guitar riff that ultimately leads the track with detail, this is by far one of the most stellar track on the record. Songs like ‘Reptile’ are very quick but extremely chaotic, with Wayne’s common household spastic vocals, along with a floating synth heard here and there; this revives the track from the shortness it has. Surprisingly, the song ‘Destroyer’ is a very melodic piece led on with the mixture of electronics/sounds and airy guitars, and even somewhat emotional if you can really
here the chorus, whereas the finale ‘Team Hate’ is very fist pumping and could wreck things up if you’re not careful.
Fortunately the positives surpass the negatives and you are encountered with a very great album by the Industrial metal veterans. Though Static’s voice could turn someone off with his sickening delivery, and the lyrical inputs occasionally coming off as stale and rather uninspired, there’s a lot to uncover on the album (head-spiraling guitar riffs and murky electronics to name a few).