Cory Smoot, best known as Gwar’s lead guitarist Flattus Maximus, passed away back in November of 2011. Not only leaving the GWAR universe empty of a beloved character, the metal community lost a great talent.
The story of the Cory Smoot Experiment goes as this: In 2010, Cory Smoot began writing and recording a concept album that was supposed to be called Religion Is Fiction. It was meant to feature great vocal talents from the Richmond, VA area to include Randy Blythe (Lamb Of God), Dave Brockie (GWAR), and Tony Foresta (Municipal Waste) to name a few. Unfortunately some scheduling problems arose and those guest spots didn’t happen. Determined to get this project off the ground, Smoot ended up doing the vocals himself and retitled the project The Cory Smoot Experiment. Due to a GWAR release and subsequent touring, the album was finally completed just before Smoot set out on what would be his final tour in the fall of 2011. For what it was, it seemed this project died with Cory until his GWAR bandmates and Metal Blade Records got together to set up the Smoot Family Fund. The album will serve as the last tribute to the fallen guitarist and all the proceeds from the album sales will donated to the fund.
Since this album is ultimately away to donate to a charity, illegally downloading it would be a douchebag move. So one might ask “aside from the donation, is this worth listening too?” I would say definitely. In one aspect this almost serves as a showcase of what Smoot was capable. After listening too it you will have no doubt who the creative brain was behind the last few GWAR records. While this record doesn’t sound like a GWAR album, it definitely has its GWAR parts. As a matter of fact some of the riffs are part of GWAR songs. I remember hearing that Smoot was working on a solo record at the time of the recording for Blood Pit Of Horror and instead of wasting those tracks; he used them for GWAR songs. This albums first track The Blood Red, is essentially Zombies, March! from the last GWAR record. There are many other similar parts throughout the record. However, where GWAR has a signature sound that in many ways limited Smoot, this project lets him expand a lot. There are many moments were his guitar skills are really showcased and the album almost takes a progressive feel at times. Not on the level of a Joe Satriani but a sense of technical prowess is clearly on display.
My biggest concern going in was going to be the vocals. Knowing that Smoot laid them down himself, I didn’t really know what to expect. I’ve seen both GWAR and Mensrea and know that Smoot barely does backing vocals let alone leads. After listening to this it’s quite clear why. Smoot’s vocal delivery is kind of on par with what Zakk Wylde does for BLS but not nearly as annoying. It’s mostly cleans but there is some screaming throughout the disc. Smoot must have had the common sense to know that vocals weren’t his forte and was able to use his production skills to layer vocals in such a way that they actually work for this. Would the original idea of the guest vocalists have worked better? Absolutely. But for what Smoot was working with, this does the job.
In the end it’s going to be hard to convince anyone outside of a GWAR fan to check this record out. While Mensrea wasn’t a completely terrible band, no one outside of GWAR’s fanbase cared about them either. So trying to sell a record by the real name of a guy who’s best known for playing in a costume worn by a few others before him, would prove to be a tough task. So for the GWAR fans, particularly those of the last few records, this is an absolute must listen. You get to hear the bands best guitarist unchained. It will prove to be an interesting listen as to where GWAR was and was probably heading because I’m sure had Smoot not died, another good chunk of this record would have probably been used for the next GWAR release as to not waste the parts. For anyone outside of the GWAR fanbase, I don’
Staff Rating
3.00/5
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