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Cryptopsy > The Book of Suffering - Tome I > Reviews
Cryptopsy - The Book of Suffering - Tome I

They Need to Explore - 62%

Arjunthebeast, March 2nd, 2018
Written based on this version: 2015, Digital, Independent (Bandcamp)

The once boundary-breaking Cryptopsy seems to have settled on repeating itself. A listener familiar with the band’s modus operandi will get exactly what they expect. More specifically, this EP, “The Book of Suffering (Tomb 1),” is stuffed with tech-death madness with hardcore flourishes, all played at high speed with eyebrow raising skill. If you dare to take off your headphones for just a second, you will miss something. Throughout its many incarnations, Cryptopsy has been one of the bands that spearheaded this swarming approach, with arguably diminishing returns. “Book” is another example of the band performing what it knows with perhaps some resignation.

What is on display here hasn’t changed much from the old days aside from the ultra-perfect mixing and robotic levels of precision. “Blashemy Made Flesh” sounds as loose as a lady of the night and “None So Vile” still sounds like actual mammals played it. Opener ‘Detritius (The One They Kept)’ promises us that what will follow is “very disturbing,” cutting immediately to a predicable all-out assault…played by cyberdemons. Monster percussion from Flo Mounier lays the foundation for Christian Donaldson’s disharmonica and Olivier Pinard’s rumble-popping. And above the fray, is Matt McGachy’s barking and screeching, which is nearly identical to Mike DiSalvo’s on ‘”Whisper Supremacy.” People may continue to gripe about Cryptopsy’s “Unspoken” misstep from 2008, but in reality, Cryptopsy had many deathcore elements early on. “Vile” may be the nearly undisputed peak of band’s output, but “Supremacy” might equal or exceed its considerable influence. ‘The Knife, The Head and What Remains,’ could have been a b-side to anything from that period, only with a sort of blunted rhythmic and melodicism that seems content to fill time. The fact that the band is still making similar music nearly 20 years later showcases the significance of the DiSalvo years and how punishing that sound was. I can’t help but wonder why there isn’t an industry standard for rawness in metal like this. I prefer my massacres fresh and bleeding, not frozen and microwaved.

Overall, the comparisons to the self-titled from a few years back will yield many similarities, and because of that, the spread remains forgettable. Perhaps it is because tech-death isn’t as impressive as it once was. Main line death metal has in large shifted towards gloomy nostalgia away from the tantric displays of virtuosos. Despite the feeling of redundancy, this is still Cryptopsy. Highlight ‘Halothane Glow’ effectively uses tumbling mosh riffs but also ends on a promising passage of atmospherics that gives us all a chance to breath. It also harkens back to “Once Was Not” and its more progressive inclinations. That might be a place the band will look to on “Part II” and beyond. It would be a welcome change.

Originally Published In Metalegion Magazine

I'm 100% back on board with Cryptopsy. - 90%

Roswell47, February 26th, 2016
Written based on this version: 2015, CD, Independent

Like most people, my experience as a Cryptopsy fan has been a ride on the proverbial roller coaster. A friend turned me on to their first two albums in the late nineties, and I even stuck by the band through Whisper Supremacy. Things started to go wrong with the release of And Then You'll Beg, but the return of Lord Worm and a new avant-garde style brought me back somewhat for Once Was Not. However, The Unspoken King was so insulting that I finally wrote Cryptopsy off for good, and I was prepared to treasure the first three full-lengths as the only Cryptopsy albums that really mattered. Much to my surprise, the self-titled album that arrived in 2012 finally showed Cryptopsy correcting over a decade's worth of problems. I initially approached the album with caution, half-expecting the improvements to be too good to be true. But lo and behold, Cryptopsy had truly returned.

With Cryptopsy's new EP, The Book of Suffering (Tome I), I can finally say that I am one hundred percent back on board. Even though the band is back in fine form, this isn't the Cryptopsy of Blasphemy Made Flesh or None So Vile; the band has a very modern feel. The EP is like a blend of the intensity and technicality of the early days and the more tolerable "core" elements of Whisper Supremacy. The clear, powerful production shows all of the punch and fury in the music. Both the six string and the bass guitars are huge and distinct. Dissonant solos, string rakes, and harmonic riffing stab at the ears while the chunky bass pounds away at your gut. Thick grooves are wrapped within controlled chaos providing a tumultuous feel but plenty of memorable parts. The rhythmic shifts and accents of the drums are all perceptible beneath the din, and the vocals are like a rabid dog chomping away just a few inches from your face. The music feels like it is looming over you in the room as you listen, battering you about the head. Since the EP is only four songs long, it's easy to endure the assault. In fact, it's likely that you'll be ready to start The Book of Suffering (Tome I) again the moment it ends.

Really, The Book of Suffering (Tome I) feels like a more aggressive and intense continuation of the 2012 self-titled album. It takes the band's best, classic ingredients and blends them into a new and equally awesome modern Cryptopsy. If you jumped ship in the past, it's time to give the band another chance. Hopefully Cryptopsy decides to stick to what they do best. This EP is supposed to be the first in a series, so maybe we won't have to wait too long to see how the band continues to progress. At least for now, I can wear my Cryptopsy shirt again without feeling embarrassed.

Originally written for http://www.metalpsalter.com

Gods of Death Metal Have Returned - 96%

Cryptopian, November 27th, 2015
Written based on this version: 2015, Digital, Independent (Bandcamp)

Ever since hearing their 1996 album "None So Vile", I have been heavily following Cryptopsy and even claiming that as I tend to put it, "Cryptopsy is god." When I found that they were to release The Book Of Suffering, I was very curious to see what it would be like. I never doubt the power of this monstrous group but as proof is seen on their 2008 album "The Unspoken King", they can sometimes fall short.

I can fully say that I am very happy with what the tech-death masters have brought forth. As soon as I heard the beginning to Detritus with that damned sample, I knew it was about to go off. And like hell it did. Every instrument exploded with ferocious intensity, with the vocalist (Matt McGachy) coming in after adding even more chaos to the mix. I immediately fell in love with Cryptopsy all over again.

The vocals altogether although not all that varied, provide a great powerful voice to this album. Matching the instrumental barrage to near a perfect level. There is really nothing else to be said other that I feel Matt has finally found his true position and style in Cryptopsy.

Now to the instruments... I can't think of a way to describe it other than kill. The drumming is aggressive and so creative. A lot of technical metal drummers stick to gravity/blast beats and cymbal crashes, never quite stepping out of the box but Flo just has a way about him where his comfort is in fact, out of the box. He takes everything in and pummels everything into dust. From the power of every hit, to the swift changes of tempo and I can't say style, but the feel of it. He has never let me down and his work is not to be missed on his release.

The guitar work is just as crazy as the guitars. Being that there is only one guitar player at this time (Christian Donaldson) you really need to give him credit because at first listen I couldn't even imagine that. It's a complete barrage of brutal technicality that gives no remorse and is very well complemented by the heavy bass presence of Olivier Pinard. You can definitely tell he is demanding to be heard and it is in no way bad. It adds even more power obliterating everything in its path somehow keeping up with the guitars yet in some parts branching off doing it's own thing. The punchy attack makes it easy to hear his bass lines with his impressive slap and fingerstyle sound.

All around this is a chaotic, technical, just amazing album and I cannot wait to hear more from them. I give this album a solid 96 out of 100 because as much as it amazes me, I want more.

Return of the Masters - 95%

Daemonium_CC, November 26th, 2015
Written based on this version: 2015, Digital, Independent (Bandcamp)

So it's been three years. Three long years since the self titled album from legendary Canadian tech-death masters Cryptopsy.

While I think it's safe to say that The Unspoken King didn't go down too well with loyal Cryptopsy fans, their self titled was a much welcomed return to form. There were elements of that album that truly surprised me, and while this is not as surprising, mainly because the band have gone back to their roots, it's still an incredibly solid EP.

What we have here is what I would call a mixture of Whisper Supremacy with And Then You'll Beg, and that's a very fine place to be for Cryptopsy. Back are the frenzied, seemingly out of control guitars, manic drumming, excellent bass playing and dare I say it... really good vocals. I think this is the first release in which Matt McGachy really fits the band and their sound, and seems to be in the groove of things, hammering out his lines with power and conviction. In fact it's so ideal that I am able to freely focus on just the music without having to worry about the vocals.

What we have here is classic Cryptopsy firing on all cylinders. The band don't ever really take a break for the four songs on this EP - they just constantly pummel your senses every chance they get. Flo's drumming is outstanding, simply amazing. One of the most creative drummers in his field, easily, and here he just blows everyone else away. A lot of technical death metal drummers are pretty straightforward and while incredible technically, just write boring and predictable drum patterns. I'm not sure if he works at it a lot especially, or if it just flows out of him naturally, but I like to think that he's just just playing what feels natural to him. In any case, the drum performance here is very impressive, but that can be said about literally any Cryptopsy album. The drums just grab you, and they have a way of taking a groove and just driving it into the ground. Tension upon tension upon tension, and finally the inevitable explosion of power and fury. It really is an art form.

Guitarist Christian Donaldson also does a superb job, considering he's the only guitar player in the band now, but it seems like he's had the time he has needed to really settle down and get into the swing of things. His riffs and general performance are outstanding, and lets not forget he's doing this all on his own. It's odd not seeing Jon in the band, but honestly, the way it is right now seems to be perfectly capable. Olivier Pinard is a legendary bassist in his own right, and he's nothing short of solid on this album. While not exactly a bass driven performance this EP is, you can hear that he's doing the business behind the wall of guitar and drums.

The song writing is excellent and to the point, there's no filler, everything on here is set to annihilate. The mix and overall sound of the EP is also very good, everything can be heard loud and clear, the way it's meant to be. The drums are still a bit in front of the mix, but to me that is perfectly fine. If you have a drummer like Flo in the band doing all sorts of mesmerizing stuff, you really don't want to turn him down in the mix. The guitars and vocals seem to be perfectly balanced and everything just sounds tight without coming across as overly polished.

This EP really amazed me. While the self titled was indeed excellent, this just raises the bar just that slightly bit more. It's Cryptopsy at their best - fast, angry, and with tasteful riffs and song writing. Really, this is not to be missed. This reminds me of the Whisper Supremacy days, and that is absolutely euphoric for me. Great job guys, keep it coming.

Only Crowdfunding is Real - 65%

autothrall, November 16th, 2015
Written based on this version: 2015, Digital, Independent (Bandcamp)

According the Indiegogo page that was set up The Tome of Suffering, it doesn't seem to have met it's funding goal, halted at just under 50% of the 20k the Canadians wanted to record and release this first EP (in a proposed trilogy) to the world. An interesting fact, since it seems to have come out anyway, but also because one of the most hallowed brutal death metal bands in existence did not quite impress its presumed audience enough with the details of this project to get it backed. Nevertheless, after the self-release of their eponymous apologetic full-length in 2012, righting the band's stylistic course from the unwelcome deathcore deviations of The Unspoken King, this four-tracker has in fact seen the light of day, and continues along the path of its predecessor to retain some barbaric legitimacy.

And it is an all-out assault on the senses, once the rather self-celebratory intro sample cedes to "Detritus (The One They Kept)", a blasting neck-strainer interspersed with all manner of choppy grooves to ensure maximum moshing reaction, and zipping, zagging rhythm guitar lines that help distract the ear from what is otherwise a fairly half-baked selection of chord progressions. Matt McGachy's barks, grunts and deeper gutturals might forever evade the distinction of the invertebrate before him, but he plasters the tracks with an overbearing balance that anchors the far thinner and technical timbre of the rhythm guitar, and the almost effortless strength with which Flo Mounier shifts the gears on his drum kit, bouncing and blasting with little strain over every hill, around every rotary, and hurtling over every pit stop. Coupled with the farting, bustling bass-lines of Olivier Pinard, the undertow of The Book of Suffering would seem a hectic framework upon which to paste riffs, but Christian Donaldson finds a way, his note choices rarely all that interesting, but wild and frenetic enough to not disservice the legacy of intensity that got Cryptopsy this far to begin with.

The pacing is largely out of control, a cork popping off the bottle for much of the 17 minute play length, pausing for breath only for the brief opening guitar experimentation of "The Knife, The Head and What Remains" or the ambient winding-down of "Halothane Glow". Granted, the release as a whole is short, and catering to the expectations of a mixed tech death/metalcore crowd which always valued the band for its position on the edge of the handle, flying off at various intervals, so the lack of much variation could be forgiven. Yet, for some reason, the four tracks on this just did not resonate with me anyway. The dexterity and the suffocating precision of the performance failed to muster individual riffs or lyrical lines that had me reeling for more, and in its quest for such a technically flawless, pinpoint production it almost entirely lacks staying power. As an statement of purpose, I think The Book of Suffering is quite loyal to the s/t, and the band are meting out the style of material which can keep them relevant in a niche that desperately needs a new destination. This newer lineup can play your lights out, there is no question, but I don't know that the band still leads the pack, or that they've ever done so in the nearly two decades since None So Vile.

-autothrall
http://www.fromthedustreturned.com

The Book of Suffering (Tome 1) - 80%

ApochWeiss, November 1st, 2015
Written based on this version: 2015, Digital, Independent (Bandcamp)

In continuing with their brutal technical death metal resurgence as if 2008's The Unspoken King never happened (their best decision in the eyes of their fans since the one to actually expect fans to warmly embrace The Unspoken King in the first place), Canada's Cryptopsy have returned once more. Following their widely accepted return-to-force self-titled effort in 2012, as well as the poorly received The Best of Us Bleed compilation later that very year, we are given a brand new four song EP entitled The Book of Sufferings - Tome 1. The now four-piece entity, having lost both guitarist Youri Raymond and his replacement Konrad Rossa in 2013, took to the independent marketing route with this new effort, issuing it through the group's own official Bandcamp account later this October in CD format, shirt bundles, as well as digital availability. But does this short new creation stand as one worth shelling out for, or is it actually a step backward for the intricate quartet?

Well, if you're a fan of anything Cryptopsty has unleashed outside of the album that no one dare speak of, The Book of Suffering - Tome 1 actually stands as a nice reminder of the group's strengths, not to mention a solid follow-up to 2012's Cryptopsy. This time there's a stronger bass presence all around, leaving the complex guitar work engulfed in lower tuned bass chords that give it the necessary blunt edge that is required given how crisp the effort is. While a digital output is never a bad thing, it does leave some of the precision to feel a bit like the group treading into the deathcore territory once more, which is exactly where "Framed by Blood" stands. While the drumming on it is fantastic, you can't help but feel an odd mixture of bands like Suicide Silence or Whitechapel, right down to a brief bass drop that literally drops the bass out of the mix, thrust into more of a The Black Dahlia Murder world full of grim, albeit tightly executed melodies and timing signatures, and even what sounds like a random explosion of mathcore intensity approaching two minutes in. That said, the performance isn't bad, though far from the best this effort has to offer.

For example, "Detritus (The One They Kept)" is a furious assault that perfectly matches the "sounds from hell" audio clip narrative that kicks off the recording like an early Deicide album. The down-tuned bass presence forces itself upon the listener by making the varying complexities of the guitar chords and drum patterns all the more hostile, latching right on your throat and attempting to tear your face right off as it hammers your skull right into quite the abrasive brick wall during the groove-oriented passages. The return to the hellish noises that started the track as a bridge into the brutal slam about two-and-a-half minutes in also makes for a punishing turn that allows the performance a chance to naturally build itself back up from the ground, which the group easily accomplishes to wrap the song up with.

The rest of this release is about what you come to expect from the fine folk of Cryptopsy. "The Knife, The Head and What Remains" is a grim opus of horror and musical dismemberment. Complex chord progressions litter the performance, as does a brief nightmarish guitar solo, on par with the delivery of Origin. The horror themed concoction offers little reprieve once it starts following the roughly fifteen second long eerie guitar introduction, only picking up in tension and vile nature the deeper in your go. And then there's "Halothane Glow", which is another that does blend together some mathcore-grade riff work, blast beats, and even a Meshuggah-like sense of aggression at times, such as around a minute in.

But, the one thing The Book of Suffering - Tome 1 really has going for it is the intensity behind the music and vocals. There's rarely a moment among these four tracks that ever lets you catch your breath, pummeling you every second it has the opportunity to with nightmarish aural landscapes and horror-themed brutality. It's impossible to stand there and claim Cryptopsy haven't tightened as a group since their self-titled effort, and it's great to see the band continue to grow and nurture the brand of technical brutality that made them a death metal household name in the first place. However, there's no denying "Framed by Blood" does put a small shadow of fear in long term fans that the deathcore side of the group's experimentation may not be entirely dismissed. That said, The Book of Suffering - Tome 1 stands as the sort of outing we've come to expect the great Cryptopsy to turn out, and, as a whole, it doesn't disappoint.

Review originally posted at Apoch's Metal Review.