Just when you've become overwhelmed with all of metal's various subcategories, a new genre rolls into town: black ’n' roll. That's what Ben Falgoust II, vocalist for New Orleans-based quartet Goatwhore, calls the band's style these days. Renowned for its merciless, bombastic barrage of blackened thrash-death metal, the 12-year-old outfit has shifted gears somewhat with its fourth effort, Carving Out the Eyes of God.

“We're mixing black metal with rock ’n’ roll,” he says. While still inherently Goatwhore thanks to Falgoust's ravenous, rumbling vocals, delivered over hammering double-time drums and piercing guitars, even a perfunctory listen to the 10-track affair reveals a vastly different approach than the vicious, relentless onslaught of previous release, 2006's A Haunting Curse.

“We were going back to earlier stuff,” Falgoust continues, discussing what influenced the release. “Anyone who knows Celtic Frost knows we're influenced by them. But [for this album] we went back to Venom, Bathory and crust punk like Discharge and Doom. We also explored our Priest and AC/DC influences. We toured with Celtic Frost on the last album, and it brought us back to those times. The last album was focused on speed and blast — the grind scenario — where the new album's about metal, [but] it's also got that punk drive to it. We let parts breathe more, let the music grab the listener before attacking with the vocals.”

Completed by guitarist Sammy Duet, drummer Zack Simmons and bassist Nathan Bergeron, Goatwhore once again enlisted Hate Eternal guitarist-vocalist Erik Rutan and his Mana Studios to breathe life into Carving Out the Eyes of God. Reflecting on how the album is the result of more patience — not slower but boasting a composed assault — Falgoust feels that it defines black ’n’ roll, with its grinding guitars spurring listeners into automatic air-guitar mode.

“It is very patient,” he agrees. “We talked about doing it that way. It took getting into the studio to nitpick and plan it out. When we were writing, we were kids again, just ripping off the bands we love and grew up with. The main focus was more guitars. We always say that, though, and I think Rutan hates us for it. Every day, we're like, 'Can you turn up the guitars a bit more?' We wanted the guitars to be a huge factor. When the record's done, we want it ripping — not burying everything, but they need to come across. That's what metal is: ripping guitars coming through like chainsaws.”

Taking some of the credit for prodding the band towards expanding the musical elements, Falgoust feels that despite being “just the singer,” his own desire for hearing girth-y Goatwhore riffs is what propels Carving Out the Eyes of God. He's a fan who happens to sing in the band, a humble approach he feels many artists would do well to adhere to.

“I'm not your average vocalist,” he says. “I like to hear the music first. Let it get laid out and then slaughter them with the vocals. Singers get accredited for too much shit and they feel like they're on a pedestal. You have Judas Priest, Black Sabbath and Iron Maiden, but it takes the rest of the band to make those acts great. It's not just Halford, Ozzy and Dickinson. You need the rest of the clan. It doesn't come across right without everyone. [Those singers have] done some awesome stuff, but it's not as good as when they're with the band. It takes the whole. Sometimes credit goes too far and heads swell. They forget that every piece is necessary and when you separate those things, they don't sound as good.”

Despite his own criticisms, though, Falgoust isn’t looking for feedback about Carving Out the Eyes of God. If you like the album, you can let the band know. If not, best to keep your trap shut.

“I just want people to give this record a chance,” he says. “I don't care how they get the album... pirate it or whatever. We just ask that if you like it, come to the show and buy a shirt. We don't whine about how downloading is killing anything. If you don't like it, though, no big deal, but don't tell us. We don't care. Go listen to what you like and don't bother telling us what's wrong. We wrote it in a way we think is right… so it is.”