Indie tastemaker label,Three One G are releasing and remastering, Homovore, the second album from critically acclaimed death metal band Cattle Decaptiation, on October 29.
Originally released in 2000 by the label, the new version will feature remastered sound by Dave Otero, the man behind the boards for recent Cattle Decap releases, Monolith Of Inhumanity, The Anthropocene Extinction, and Death Atlas. It will be available on limited edition color LPs, CD, cassette and digitally. The vinyl versions of the album will contain the following variants: 500 “Release The Gimp” color vinyl and 300 “Wine Of The Sanguine” color vinyl.
Homovore, was the band’s second release, following Human Jerky, and it’s their last one before signing to Metal Blade, which has been the band’s home ever since. It features the line-up of Travis Ryan on vocals, along with Locust members, Dave Astor on drums and Gabe Serbian on guitar. Since its release, the band has undergone many line-up and sonic changes, morphing from a death-grind band to a death metal band, while releasing seven albums and winning more fans and plaudits along the way.
With the reissue of Homovore imminent, we got Ryan to comment on the album’s creation and what it meant to the band.
Below is a brief interview with him.
I would like to know if you have any thoughts on the reissue of Homovore. When it came time to follow up your debut album, Human Jerky, what were you looking to do, and did you accomplish it on Homovore?
At the time, the other two guys in the band were so busy with The Locust that other than writing and then recording the songs, they didn’t have time to put it together and see it through above and beyond that. I had put together the images and instructions for the layout with Human Jerky, which worked out well, so they told me to do the same thing with Homovore and effectively, what I always referred to as, “placed the band in my lap.” The Locust was popping off so hard that it seemed they didn’t have the capacity to invest in the band the way I did. I didn’t really have much else and saw potential in what we were doing, so I ran with it to this day
Looking back, what do you think of the record now?
There’s some funny things with it. Like the fact that Gabe’s distortion pedal was dying during the recording. At the end of the recording he goes “look … my pedal is dying” and the little red battery indicator light was fading. We had more of a “punk rock” approach to what we were trying to pull off as “death metal,” and having lived through the proliferation of the death metal scene across the country and rest of the world already, I kinda thought it was hilarious, considering I had already become all-too-familiar with how serious that scene took itself.
This record and Human Jerky, I think, cemented our more “punk ethos” that we’ve carried through to today but it has tended to be enshrouded by a more death metal aesthetic. I’m not into pineapple on pizza AT ALL, but I kinda see us as being like that. An anomaly in the extreme metal scene where our carpet doesn’t exactly match the drapes of our peers, two great tastes that taste great together to some … to others, not so much. I prefer to keep it that way to be honest, as I like pushing the boundaries of what is deemed acceptable in the genre.
How important was Homovore to the development of the band?
It opened us up to a broader audience than we had been in front of up until then—the ThreeOneG scene. They basically created an entire scene that, from my angle, seemed to be based off of what Justin personally likes but also bands and artists associated to bands the Locust would tour with, meet on tour, and so on, so while kinda popping off, it still had a grassroots mentality, which I appreciate.
It was our connection to the Locust, and that scene that really was the springboard for our band—that’s undeniable, and was all the momentum we needed to propel ourselves into the metal arena. Which we did, in a way that I did not see coming—by signing to Metal Blade Records—one of the most important labels in the genre’s history.
Being able to ship impressively presented albums (the gatefold LP of Homovore, full-color, seven-inch sleeves on colored vinyl such as Homovore’s companion the Decapitacion seven-inch, Human Jerky being on its third pressing of 1000 units each) at the time to labels really helped us. We had Necropolis Records in San Francisco and Relapse Records in Philadelphia looking at us based on our buzz and content presentation, and all of that combined helped us land a deal with Metal Blade Records, which has turned into a fruitful relationship going on two decades that is still going strong today, an achievement I’ll always be proud of.
Preorder Homovore Here.