Register Forgot login?

© 2002-2018
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

In hindsight, It alright. - 83%

GodOfMalice, November 7th, 2018
Written based on this version: 2011, CD, Independent (Digipak)

This was the first metal album I ever owned on CD, and I've listened to the songs here countless times in my earlier years. With my nostalgia glasses, this album is perfect, but the realist side of me begs to look at this album more critically. My conclusion on the matter is: Yes, it's the weakest album of the currently 3 Iperyt albums, but it's still a good industrial black/death album.

Comparing this album (or band in general) to others industrial bands like I've seen people here do, like 'Blut Aus Nord', 'The Axis of Perdition', or hell even 'The Berzerker' aren't fair comparisons, for each of these bands, and all other industrial black bands are ranging from "very different", to "Holy Shit, why are you putting these in the same sub genre" ? Looking at this album on its own, it does lose much of its atmosphere established in the prior album, but still has a crazy amount of attitude and personality to dissect, and trades the colder atmosphere for more nuclear brutality and self-despair.

The disparity between the great songs, and not-so-great songs is much greater than i remember, with tracks like the self-titled album track being fucking killer and still awesome to this day, and tracks like 'Scars are Sexy' having me say "I loved this"? Don't get me wrong, there are solid parts to most of the songs, but if you're not a fan, it'll definitely be hit or miss. The lyrical content is also a step down, matching the immaturity from the band's EP, and at this point, it's wearing out its welcome.

The production and guitars feel softer on this album and lack punch at times, taking away from the "Sonic Terror" Iperyt builds itself to be. People Hater still manages to give a great performance on the album in comparison to everything else, and even delivers some melody on a portion of the final track, which in general comes out of nowhere, yet works as an existential cry in need of oblivion and nothingness.

Is this a solid follow up to the first album? No, not really. Is it good on its own? For me, it alright. I can't help but like it, imperfections and all.