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Old Shame is In-Universe only
* CreatorBacklash: Rusay took his firing extremely hard and entirely disavowed his time in the band. Webster, Mazurkiewicz, Owen, and Barnes have all apparently tried to reach out to him on numerous occasions over the years, but he has consistently ignored them.
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* OldShame: Rusay took his firing extremely hard and entirely disavowed his time in the band. Webster, Mazurkiewicz, Owen, and Barnes have all apparently tried to reach out to him on numerous occasions over the years, but he has consistently ignored them.
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* RarelyPerformedSong: The band played "Frantic Disembowelment" live exactly once before permanently retiring it from their setlists, as it's a ridiculously technical song that is physically painful to play, and, while the most well-known song from ''The Wretched Spawn'', is nowhere near enough of a fan favorite to justify slogging through it.
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* CreatorsOddball: ''A Skeletal Domain'' is this in comparison to most of the Fisher-era releases. While most of their later releases have individual motifs to distinguish them, ''A Skeletal Domain'' has more unorthodox and quirky compositions when compared to their usual style (namely "A Murderer's Pact", which features a full-blown neoclassical shred lead from Pat), as well as a much cleaner and more modern production style. Much of this can likely be owed to the influence of Mark Lewis, who produced the album (as opposed to Erik Rutan). Fan opinion is generally divided, but it is generally considered to be one of their lesser releases, and the band themselves have said that it is too clean and polished for their liking, which led to their decision to go back to Rutan, and while "Kill or Become" has become a live staple and is one of the most famous Fisher-era songs, they have not played anything else from the album since its tour cycle concluded.
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* CreatorsOddball: CreatorsOddball:
** ''A Skeletal Domain'' is this in comparison to most of the Fisher-era releases. While most of their later releases have individual motifs to distinguish them, ''A Skeletal Domain'' has more unorthodox and quirky compositions when compared to their usual style (namely "A Murderer's Pact", which features a full-blown neoclassical shred lead from Pat), as well as a much cleaner and more modern production style. Much of this can likely be owed to the influence of Mark Lewis, who produced the album (as opposed to Erik Rutan). Fan opinion is generally divided, but it is generally considered to be one of their lesser releases, and the band themselves have said that it is too clean and polished for their liking, which led to their decision to go back to Rutan, and while "Kill or Become" has become a live staple and is one of the most famous Fisher-era songs, they have not played anything else from the album since its tour cycleconcluded.concluded.
** For the Barnes era, ''Eaten Back to Life''. Even taking into account its EarlyInstallmentWeirdness status, it still barely sounds like anything else they've done. It has far more overt thrash influences and Chris uses a mid-register hoarse shout that renders his voice borderline unrecognizable and that he's never redone in Six Feet Under (unlike the other albums with him, where the vocal style he used has been revisited at least once by him after).
** ''A Skeletal Domain'' is this in comparison to most of the Fisher-era releases. While most of their later releases have individual motifs to distinguish them, ''A Skeletal Domain'' has more unorthodox and quirky compositions when compared to their usual style (namely "A Murderer's Pact", which features a full-blown neoclassical shred lead from Pat), as well as a much cleaner and more modern production style. Much of this can likely be owed to the influence of Mark Lewis, who produced the album (as opposed to Erik Rutan). Fan opinion is generally divided, but it is generally considered to be one of their lesser releases, and the band themselves have said that it is too clean and polished for their liking, which led to their decision to go back to Rutan, and while "Kill or Become" has become a live staple and is one of the most famous Fisher-era songs, they have not played anything else from the album since its tour cycle
** For the Barnes era, ''Eaten Back to Life''. Even taking into account its EarlyInstallmentWeirdness status, it still barely sounds like anything else they've done. It has far more overt thrash influences and Chris uses a mid-register hoarse shout that renders his voice borderline unrecognizable and that he's never redone in Six Feet Under (unlike the other albums with him, where the vocal style he used has been revisited at least once by him after).
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* HostilityOnTheSet: Barnes' final days with the band were marked by constant fighting and tension, and it all came to a head during the recording sessions for ''Vile''. Barnes got into almost-daily shouting matches with the rest of the band that sometimes got violent, and any attempt to get him to try something different from what he had in mind was guaranteed to result in adamant refusal. When Barnes announced that he had a run with Six Feet Under coming up, it became a race against the clock to get his vocals done before he flew out, but he did such a piss-poor job tracking vocals (culminating in Barnes walking out of the studio and not coming back after Alex Webster told him that they were not at all happy with his lines on "Devoured by Vermin" and were rewriting the lyrics whether he liked it or not) that the band finally accepted that he was a lost cause and had to be fired for Cannibal Corpse to be able to survive.
