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Finally, after five years, Cryptopsy has released a new studio album! This is quite an important album for Cryptopsy as most of their fans should know. Not only is new material from the band, but it features the return of the original and the legendary Lord Worm. So naturally, this album had a lot of anticipation, and it sure has delivered to its anticipation.
The album starts out with a Spanish/classical guitar piece which was performed by former Cryptopsy guitarist Jon Levasseur. It's a beautiful piece, and a very surprising way for a Cryptopsy album to open up. After that, we get the first real song on the album, which starts out with booming power chords and then will blast the listener away with Flo Monier's juggernaut blastbeats. The song itself is rather dynamic, filled with interesting blast/grinding sections, memorable riffing, impressive leads, and even and some more Spanish style classical guitar work. Very diverse, indeed!
The third track on the CD entitled "Carrionshine" is a personal favourite. As many fans can probably recall, Cryptopsy released this as a pre-production demo earlier in 2005. I was enjoying it then, and I enjoy it so much more now. Flo's blasts go inhumanly fast in some parts. The riffs are fantastic too. There's a break in the song where the guitars become clean, and introduce and riff with some interesting harmonics. Once the distortion kicks back in, it's full brutality ahead. This song is surely to become a fan favourite.
The album continues on with a couple more tracks and then arrives to the masterpiece track "Keeping the Cadaver Dogs Busy". It starts out with a snare roll, and goes right into a jazz chord progression. Once the progression is over, prepare for brutality. Another great track. It is comparable to a jazzed up version of the classic "Cold Hate, Warm Blood".
A lot of fans will most likely enjoy the next track, "Angelskingarden". It has piano and synth in it, and clocking in at 7:07, it is the most epic sounding track on the album. The fan favourite "Phobophile" will probably come to mind while hearing this track.
The album then comes to the most stand out song on the album, "The Pestilence that Walketh In The Darkness". Cryptopsy released this track not too long before the promotional copies of the album came out, and a mass of fans became worried about what this album world sound like. I too was a bit concerned about the album, because it opens up with a clean arpeggio guitar line, and then goes into a melodic, groove based intro. As the song progresses it does get heavier, but is definitely the most non-Cryptopsy like song they've ever done. In fact, it reminds me of the Deftones with a different vocalist. The thing is though, it really fits into the flow of the album. It's not a Cryptopsy song, but it's a song that fits well where it is on the album.
Near the end of the album, we get the appropriately named track "The End", which sounds like a Latin based piece. This song runs off of its previous track and then runs into the next track "Endless Cemetery". This song closes the album off greatly, leaving a brutal impression on the listener.
The production on this album is a bit weak in comparison to the Mike DiSalvo era of Cryptopsy. It's not as thick or as well rounded. The drums stand out most in the mix, which sometimes may bury the other instruments. However, this is by no means a poorly produced album. Riffs are still distinguishable, as is the bass. Lord Worm's vocals sound higher than they used to, but he still manages to sound like the sickest human being on Earth.
All things considered, this is an extremely surprising and dynamic album that will either please or piss off a lot of Cryptopsy fans. I personally was very pleased with it, because you get the feel of old and new Cryptopsy with some other elements thrown in.