Okay, so first thing’s first: lots of people detested the last Cryptopsy album, ‘The Unspoken King’. Personally, I have no idea what the exact problem was as I’ve never listened to it. Not enough cash = no CDs, therefore I didn’t buy it when it came out. Evidently the main “problems” were the new line-up and a move towards “deathcore”.
Second thing’s second: what exactly is “deathcore”? Having been to a couple of Black Dahlia Murder gigs over the last few years (to see Psycroptic, Cephalic Carnage, Obscura and Necrophobic) I would assume that it refers to some of the other bands they had supporting them who played a simplified, rather mundane form of death metal. If this was what Cryptopsy did in 2008, I do find it rather surprising but equally, you can never underestimate the power of the internet for enabling people to blow things out of all proportion. I, for instance, liked the last Decapitated and Morbid Angel albums. Shock, horror! So approaching ‘Cryptopsy’, my only thoughts – as a fan of all their albums aside from the “thing that should not be”, which as stated, I don’t know – are: ‘great, a new Cryptopsy CD!’
My initial reaction upon hearing the new record for the first time is: ‘awesome, a new Cryptopsy CD!’ In complete contrast to the accusations of simplicity, blandness and selling out which accompany ‘The Unspoken King’ comes an unashamed, first-class lesson in technical death metal. ‘Two-Pound Torch’ launches the album with characteristically insane riffs and drums – the type of which this band perfected over their first four releases. Two things immediately stand out whilst experiencing the introductory phase of the album: one, that Cryptopsy seemingly needs Jon Levasseur to make this the band that we all know, love and expect. His fast, choppy and often spasmodic riffs compliment Flo Mounier’s crazy battery perfectly – an aspect which was certainly missed on 2005’s great but patchwork ‘Once Was Not’. Number two on the list of “striking aspects” is the vocal delivery of Matt McGachy. Perhaps his vocal talents are not as distinctive as Lord Worm’s or as forceful as Mike DiSalvo’s, but throughout the album, his low vocals and occasional higher-pitched emissions do exactly what is required to lead the band’s lunatic mission.
The album essentially plays out like vintage Cryptopsy. Perhaps the most pedestrian moments by the band’s past, mental standards would be ‘ShagHarbour’s Visitors’ and ‘Amputated Enigma’, simply due to the fact that neither of them contains a thousand tempo-changes. Then again, maybe that’s the point. They are still good tracks despite their relative simplicity. Generally, it seems that the band has created a mix between the very technical, alienating approach of the DiSalvo albums and the swing of the the Worm era. The fast stuff is very fast and the technical parts very technical, though there is nearly always some groove to be found. Beside the head-crushing nature of what they specialise in, the band naturally incorporates some abstraction along the way. ‘Red-Skinned Scapegoat’ exhibits amongst its furious riffs and ADHD tempos, a section of pure jazz. Nice. What I also particularly like about this track is the solo around the four-minute mark, which builds up melodically in the classic Cryptopsy manner. Later on, ‘Ominous’ showcases the talents of Olivier Pinard on bass as he plucks away incessantly to accompany Mounier’s oddly cool stick tapping solo.
‘Damned Draft Dodgers’ even breaks into what I believe is a bit of xylophone(?!) lounge music. Now the only other death metal band I can think of who used a xylophone was Tiamat on their debut, in a very strange solo. Cryptopsy’s employment is far less incongruous and works incredibly well as a bizarre aside. If I didn’t know better, I would say that this particular instance is the sound of the band firing a sarcastic riposte towards the “fans” who abused them so vociferously over what was simply an album. Rest assured that whatever they might have experimented with in 2008, they’re still more than capable of creating a maelstrom as if it were the year 2000. ‘Golden Square Mile’ and ‘Cleansing the Hosts’ (personal favourites) embody this truth for those who might still doubt after reading what they have so far.
‘Cryptopsy’, titled as it is and self-released appears to be a clear mission statement: this band may have dabbled but they certainly haven’t forgotten who they are. More importantly, they’re going to kick your head harder than a Chuck Norris roundhouse. Maybe the only aspects I am not so keen on are the daft and/or awkward sounding song titles like ‘Damned Draft Dodgers’ and ‘The Golden Square Mile’. Without lyrics, I can only be left to assume that there are no triple amputees screaming in the kitchen as there was with Mr. Worm at centre stage. But hey, who could replicate that level of unhinged genius? In every other respect, ‘Cryptopsy’ is a very good album. I find it impossible to believe that anyone who has ever liked the band in the past could not like this.
(8.5/10 Jamie Wilson)
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