Cancer - "Black Faith", 1995

Let's face it: Cancer is an honest band, but it never excelled at anything. The band’s thrashy death metal formula worked well enough on the first two albums, especially thanks to Scott Burns’s production, and "The Sins of Mankind" was a more polished, technically accomplished effort with better songwriting. That said, I own all of these records and play them occasionally, but I would not include any of them in a hypothetical best-of list of my favorite death metal albums. Therefore, it was a bit of a shock in 1995 when I found out the band had signed to EastWest—the same label as Pantera at the time—and when John Walker appeared on MTV’s Headbanger’s Ball to introduce the video for the title track of the band’s then-new record, "Black Faith." I found that single a rather strange departure from the band's signature sound, so I didn't spend my already limited funds to buy the album right away; still, I managed to acquire it secondhand shortly afterward, mostly out of curiosity.

It's obvious that the band underwent a major change on this record, at a time when large corporations were extending their greedy hands over some of the most successful death metal bands, trying to score big. It's not exactly clear whether the labels were actually interfering with the stylistic direction of these bands, or if the bands themselves seized the opportunity to reach a larger audience and adjusted their songwriting accordingly, possibly trying to accommodate some of the more popular trends of the time. What's certain is that most death metal records released in the mid-90s, whether on a major or an indie label, featured either slower tempos—attempting to follow the then-popular groove metal template—or incorporated influences from other genres, resulting in albums with an altogether different style, as Morgoth did with "Feel Sorry for the Fanatic." There's a reason I mentioned that particular Morgoth record; it does, in fact, bear some resemblance to "Black Faith" in that both show some Killing Joke and Ministry influences, especially in the vocals, with Walker's voice often processed through a distortion filter and adopting a more intelligible, yet still gruff, approach that certainly has little to do with death metal. He even tries to infuse a hint of melody into some of the songs, with varying degrees of success.

Aside from the vocals, "Black Faith" abandons nearly all other traces of death metal to focus on a modern, typically mid-90s thrash metal style featuring groovier song structures, rock and alternative metal influences, and slight industrial metal touches—mainly in the riffing, which often recalls Prong. Carcass's "Heartwork" and its heavier, riff-driven approach also seem to be influences, as do Kreator's angst-ridden post-thrash on "Renewal" and Coroner's more martial-sounding "Grin." Strangely, nothing on the album resembles labelmates Pantera; if anything, some riffs could be loosely compared to the moodier material on Machine Head's "Burn My Eyes," although that album was released the same year, so it's likely just a coincidence. Overall, "Black Faith" is a blend of many 90s metal trends (excluding nu-metal), sounding very contemporary at the time but appearing dated and clearly tied to that specific era when heard today. This doesn't necessarily mean it's a bad record; is certainly different, and it could have easily been released under a different moniker. However, I still prefer it over anything the band released afterward, including Cancer's more recent attempts to return to its early 90s thrash/death glory. I would even say that its mid-90s vibe has its own charm, especially if you lived through those years.

The opener, "Ants (Nemesis Ride)," immediately showcases the band's new style, and the high-profile production by Simon Efemey presents the band in a new light. The sloppy execution and muddy production of the past are gone, replaced by a massive wall of sound featuring huge, sharp guitars, powerful drums (likely enhanced with some tasteful samples), and a distorted bass that finally cuts through the mix. The succession of chugging, thrashy mid-tempo riffs and more spacious, open-chord slowdowns is a motif throughout the record, as are the groovy passages found on tracks such as "Who Do You Think You Are," "Highest Orders," and "Save Me from Myself." Guitar solos are few and far between, though the album would have benefited from a more creative lead guitar player to add more depth to the tracks.

Some songs, such as "Face to Face," the double kick-driven "Kill Date," and "Without Cause," feature more rocking riffs, with the latter in particular reminiscent of the darker material on Carcass's "Swansong," though with more restrained vocals. Built on a slow-moving, menacing riff, it follows a traditional rock song structure and introduces industrial samples throughout, courtesy of Swedish guest producer Sank. "White Desire" blends more up-tempo, punk-influenced riffs with a more accessible alternative metal chorus, a risky move that is fully developed in the title track, a short but fascinating song that could almost qualify as post-grunge, if not for the massive guitars. Like a play of light and shadow, "Black Faith" alternates acoustic passages and eerily melodic riffs that culminate in a heavy, memorable chorus. Bassist Ian Buchanan also stands out on this track, offering distinctive bass lines that cut through the mix and enhance its alienating, hauntingly beautiful atmosphere. The cover of Deep Purple's "Space Truckin'" feels unnecessary, as it's simply a heavier but otherwise faithful reinterpretation of the original, with Walker's filtered vocals being the only significant difference.

The record is a product of its time, and while it doesn't truly represent Cancer or its original, meat-and-potatoes death metal sound, it remains a worthwhile attempt at something greater that can be best appreciated if you look beyond the questionable change in style. If anything, the musicianship and ambition are commendable and testify to the band's effort to become a more mature, solid-sounding group. Ultimately, it didn't succeed, and the band's career was cut short right after the album's release, at least until their first reunion attempt in 2003. It's a pity, since "Black Faith" could have been—if not a breakthrough album—at least a transitional one toward an adventurous and more focused future.

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