My best comparison is that he sounds like the guy from Incubus just not as well delivered. (Exit) the Few. The guitars appear to be used for background noise except for the occasional sloppy solo and the drumming is worst of all. I was wrong. The other element that could have added something interesting to Cryptopsy's sound was the addition of keyboard player Maggie Durand. She has sections in songs like "Leach", "Resurgence of an Empire", "Silence the Tyrants", and "Contemplate Regicide". There's nothing wrong with a little eye candy, but for whatever reason she either really sucks at playing the keys, or the band is painfully underusing her here. Released 23 May 2008 on Century Media (catalog no. 195 likes. The guitar work to this album is every bit as technical as past efforts with the addition of solos that actually sound decent, instead of the random sweep picking found on previous releases. The 47 minute length of this album is almost as despicable as its musical content. In this album its more like 35-40 percent. And I guess when they take up nearly a quater of the run time I can't give this album a zero without factoring in my personal disgust of the changes made. He said the two tracks that were originally leaked ('Bemoan The Martyr' and 'Resurgence Of An Empire') were 'mood' tracks, and that the rest of the album was very, very brutal. Instead of opting for their traditional death metal sound driven by technicality, the dudes decided to move into a more metalcore-influenced take on death metal. 0. Avoid this like a swarm of killer bees carrying the Ebola virus. But take it for what it is rather than what you think it should be and it may tickle your fancy in more ways than you'd think. Where do I begin? Another benefit of The Unspoken King is that, while some songs might be more forgettable than others, this album doesn't bleed into itself after the first few tracks like so many others do. He has been described as "emo" by a lot of folks but personally, I disagree. Realizing his mistake, the Unspoken plotted to return and reclaim his throne, cultivating the Xerogen crystals, only for Attilanto rise into the sky. There is nothing wrong with breakdowns when used tastefully (listen to Raining Blood for a prime example), but so many shitty bands nowadays have decided that a breakdown is just a perpetually unchanging open chord in an atypical rhythm. It's like a saxophonist joining Motorhead! The "tape a bunch of random riffs together" writing style is still in full effect on the heavy sections. If you don’t want to murder the man’s family after hearing that, congrats, you’re deaf. But the problems run much deeper than those. I listen to Cryptopsy (albeit not as often as most fans seems to) for the hyperblasting intensity, vile yet indecipherable lyrics, Lord Worm's frenzied and frankly terrifying growls and shrieks, the unnecessary and foolish yet bizarrely entertaining bass breaks, and Flo's absolute kit mastery. 9977952; CD). I may as well review it properly. The high screams however are pretty much awful. The most consistent of said fellow Canadian modern death metal genre benders’ knockoff songs is “Leach”, which mostly avoids the disorganized chaos of the deathcore metal sub-species and sounds like an actual song. Instead you get long double bass sections with Flo trying to do as much as possible, but still sounding like your standard rhythm keeper. Congratulations Craptopsy, are you proud of all the new fans you've garnered? Aside from those small things, this is a terrible excuse for a Cryptopsy album, and I hope they enjoy losing their entire fanbase, and failing to gain a significant new one. Even though this album is nothing new, they still managed to be very boring and excruciatingly unoriginal. This whole album DRIPS of core kid propaganda through and through, and the worst offenders are the ones that are the most noticed. Keyboards. And to be honest? But it DOESN'T. Go to page 1, 2 Next. Not as goofy as Mike DiSalvo on And Then You'll Beg, but no more charming either. 'Bemoan the Martyr' has a somewhat similar feeling, and overall it just reeks, reeks! Not nearly as many breakdowns! Also, Flo Mounier's signature lightning speed drumming is still there in spades, particularly on songs such as "Worship Your Demons", "The Headsmen" and "Anoint the Dead". They grind along at a fairly unassuming pace, way back in the mix and completely harmless, going through rather tired progressions and riffs that I could've sworn were on the first JFAC EP. Also, if you can ignore McGarthy for a second, it’s apparent that the musicians are still capable of playing their instruments to some degree of skill. They never give you a break! I'm listening to a mallcore abortion with traces of deathcore thrown in just to piss off the old fans. If all of this were dowsed in superb riff-writing, atmosphere and really catchy vocal lines, then I'd be the first to forgive these cheap shots of accessibility, but unfortunately these ideas simply don't gel into anything worth remembering. He seems to rely more on the inhale technique, which is a commonality in deathcore. While none of his harsher inflections is particularly effective, the melodic vocals are almost unbearable in the context of Cryptopsy; ranging from a Puddle of Mudd/Linkin Park inflection to a silkier attempt at pulling off some Mike Patton worship, which simply sounds out of place on this record. Because aside from these minimal “new elements” (or "drawbacks", if you will) in their music, the rest of the album is Cryptopsy the way you would have expected them to play and sound at that point in their career. So really, this album is fairly good for a deathcore release. Most of the rest of the music on here, with a couple of exceptions, follow one of these two models, though incorporating guitar solos and fun bass interludes to lighten the blow a little. But I was wrong, as is most every other reviewer on this page. myopic elitists with serious cases of tunnel vision) got so freaked out by it that every time the guitarist played an open E string they reflexively shouted "That's a breakdown, this band sucks!" That's just about the worst insult one can bestow upon a band; that they sound like background music. The worst of the worst on here are most likely Bemoan the Martyr, Anoint the Dead, The Plagued, and Contemplate Regicide, but trust me when I say nothing is remotely good. Yeah, maybe he sounds more level than on other records where his fills and performance had a lot more charisma, but this is no more or less than any modern brutal/tech record you'll find out there. View credits, reviews, tracks and shop for the 2008 Vinyl release of The Unspoken King on Discogs. There is actually another passage like this in another song, perhaps demonstrating Cryptopsy's new found respect for urban dance music. The computer works, the pop and chips are decent, but the music is absolute unmitigated shit. Safe for mommy, or your little sister. The following track at several points sounds like the band is having to hold back from bursting into a cover of Down with the Sickness - and their attempts not to look like a complete rip-off of several existing pop bands is manifested in frequent out of place blastbeats seemingly only there to add some plausible deniability that they are completely emulating Disturbed. His high scream is essentially in the same vein. The drumming here doesn't really vary from anything else Cryptopsy has done. Worship Your Demons honestly sounds like it was lifted directly from a Job for a Cowboy album. “The Plagued” isn’t quite as consistent and goes in and out of deathcore sections and more enjoyable melodic death moments, but most of it listens like consistent Into Eternity worship, complete with a less competent than the latter’s vocal harmonization which probably can’t be recreated live. The bass is really the only thing on the record that is 100 % audible and that is to say the bass isn't entirely all that impressive to begin with. From the spastic, stop-go time signature changes of "Worship Your Demons" to the head-bobbing groove of "Leach", every song has its own individual vibe, and it never feels like the same thing was played twice. Now onto the second problem with this album. With Jodelle Ferland, Sunny Suljic, Pascale Hutton, Anthony Konechny. Not too pussified, nice. This album deviates from that signature sound quite a bit, so it shouldn't be much of a surprise that isn't not embraced as well as their previous works are. For the days after I caught this leak, I was unsure as to how to review it, I could A) review it normally, marking it in a truly strict sense, or B) cut off a few points and display my disgust in the band for creating this... abomination. With the departure of lead songwriter and guitarist Jon Levasseur, much of the charm that made this band so intriguing and unique was sure to leave, but I wasn’t expecting the melodic leads and breakdown-esque riffs that are being chugged out by scene kids the world round. Far be it from me to knowingly make waves, but I have to go against the grain on this one. Forum Index » Music Talk » Metal Discussion. The clean vocals parrot the same tendencies of the rest of the music and don’t have any structure or symmetry unless you take into account that the whole section is repeated once or twice later on. I guess that's probably a good place to leave it. It screams a medieval theme, from the title, to all the song names, to the kingly vocal harmonies found in the latter half of the album. These really do reduce this band at times to being no heavier than bands like Job For A Cowboy, who have a fake heaviness. The riff isn't good anyway, but with those vocals it just sounds like Deftones with Cryptopsy production; not impressive. This album's release is like going to a restaurant to get steak and getting a steak that looks like steak, smells a little off but then tastes like fried chicken with hot wing sauce all over it. Sure, it may have been a bit boring, but nothing like this. If you're going to sell out at least do it properly. And Then You'll Beg and Once Was Not had already proven the band was not invincible, and that there were many chinks in the armor they had worn so proudly with classics such as None So Vile. The problem is, the so-called "loyal" fans (i.e. I could leave this album on while I wrote my current story, and it would leave no impression at all, except that of faint, wispy annoyance. In closing I'll say this: if it turns out I missed the memo that my opinion is completely wrong and Cryptopsy are a legitimate deathcore band now, then as far as I'm concerned they're still among the elite in their genre, and it will be a long time before anyone eclipses them. Life's funny that way. Sleek, professional, polished to a flaw. Imagine looking at a picture of a catfish after its been caught, and it has its mouth wide open. Worship Your Demons introduces this formulaic pattern which ends up coming off as camedic. It’s all jumbled, 2 second long riff fragments loaded with drum sounds that refuse to be coherent, manifesting in a sub-3 minute fit of tonal diarrhea. The Unspoken King is the sixth studio album by Canadian technical death metal band Cryptopsy. Vocalist Matt McGachy was pretty much a 'package deal' of mediocrity. Even the established members are underwhelming. And keyboards? The Unspoken King is fucking awful. Craptopsy has managed to take the worst of both deathcore AND fucking mallcore, throw out all of their previously established traits, and market it to the lowest common denominator of music fans. Also, Matt McGachy's vocals are noticeably more high-pitched than Lord Worm's or Mike DiSalvo's, and when he goes too high they start to sound somewhat irritating. The band instead perform deathcore on this album. Glints of post-hardcore and modern heavy radio rock are strewn through the more intense passages, and they definitely make every effort to showcase the 'sensitive side' of their new vocalist. I always gave Cryptopsy's albums a chance because I've seen them live on a few occasions which gave me some sense of loyalty to not count them out entirely. What happened to Amelia Earhart? Yes, there's a serious lack of legit tech-death riffing, the complicated, nearly inhuman nature which older Cryptopsy albums excelled at, and things are much more simplified than before, but the riffing and harmonic guitar leads, as they are, are still rather interesting in their own little way, far more intense than your average breakdowners and offering more in the way of creative ideas and rapid-fire time signature changes (if fewer than before). "The Unspoken King" is Cryptopsy's sixth full-length studio album and definitely their most different effort. As another whinging metalcore chorus in Leach (sounding like Alice in Chains minus irony or talent, sort of like the chorus in Sickman) drones ineffectually these comments appear even more laughable. They range from the vocals, lyrical content, instruments and production. Pretty much the only aspects of The Unspoken King which don't disappoint are: a) the cover artwork by Jeik Dion, which is quite atmospheric and by that token has nothing whatsoever to do with the music; and b) the lead guitars, in general well composed and gleaming far above and beyond the vocals or rhythm sections. But what I'd said earlier about negative press sparking curiosity is what drew me to this apparent collective of failure and, promising my soul to the All Father should I not survive the ordeal, I dove in. Probably wishful thinking, at his age. The bass sounds mallcorish, and there are nearly zero solos on the record. But while I can agree on that point, it must be understood that clean vocals account for a very small percentage on this album. The Unspoken King is an affront to the Canadian music scene, death metal, and music in general. Avis posté le 06 sept. 2008 deception. This time around though I feel it is safe to say hat all hope for Cryptopsy is certainly an understatement. Yet for all the shortcomings I've been shedding light upon, it's within the sum of its better aspects that it doesn't complete cave in on itself with its misguided ambitions. Bound Dead . The Unspoken King could certainly be appreciated a little more if the name of the band is pushed from your mind. His clean singing, while not completely terrible, is…why the hell is there clean singing in a Cryptopsy album?! The Unspoken King is the most maligned in Cryptopsy's extensive discography for the simple fact that it was Cryptopsy tapping into the trends of the day, and this is not rightfully so at all. Oh, yes. There's two different types of selling out, one which is quite ok and the other which fails hard. He is certainly very different than the famed Lord Worm or Mike DiSalvo in terms of both the sound and execution of his vocals. It beggars belief that the band are not aware of what they are doing, so DO NOT give them the benefit of the doubt that they have all suffered from minor strokes and consider this to be extreme technical death metal. I agree, the clean singing is out of place and does not belong in this band. However, there are a few other things that need to be addressed. I didn't even like any of Cryptopsy's vocalists (though I enjoyed Lord Worm's performance on Once Was Not) but their albums were kept afloat by the fantastic work of the rest of the band. I couldn't even make it one full paragraph. 0. 10. If Helloween would've released Obscura, would it still have such a ridiculously high score? You can tell just how important Ms Durand was to the group considering she didn't even last a year before her ouster. The result was The Unspoken King, a great release. Worship Your Demons. The riffs are as crazily fast and hard to play as fans have come to expect, as The Headsman and The Plagued will show. They are produced nicely, so they sound very good, but they're also extremely quiet. Flo's comments about the negative feedback on this album pretty much confirm this - he considers previously loyal fans as idiots for not liking this music, and also considers it as extreme as the band has ever been. The impression is that Cryptopsy don't like metal anymore, and have an even lower opinion of metal fans. CM 8495-2; CD). The Unspoken King's line up in particular caused the most controversy among death metal fans because of the addition of a keyboardist – something that sounds sacrilegious for a pioneer of barebones balls-out brutal death metal band like Cryptopsy. Most of the time his standout parts are surrounded by pointless background sounds, but they still come through and bring some enjoyment to an otherwise useless set of poorly placed interludes. Every single album in this fucking genre is loaded with pointless blast beat and drum fill showboating that make Mastodon’s drummer sound like Phil Rudd. Metal music is a guitar riff oriented style of music, I don’t care what sub-genre you play in, which rightly justifies any questions as to whether this music even qualifies as metal since riffs take the back seat to lung spewing gibberish and throwing a thousand notes or drum hits into every minute of sound space. At first it seems like an attempt to add some more "diversity", as the usual midrange Soilwork squawking continues throughout the song. The awful dissonant lead guitar harmonies and the lack of Cryptopsy’s trademark style of brutality just don’t sounds like the band should sound. But it’s not necessarily good, either. Well, this isn't. 03. It contains a vast, interesting mix of melody, ferocity, technically, and groove. His cleans are good for harmonies (found more on the latter half of the album). Does anyone else realize just how much Cryptopsy is selling out? Their earlier albums had a few things going for them, and the whole tech-death metal thing is fine in and of itself, but they just didn't wholly interest me or draw me in. Maybe they figured it was a failed experiment? Anonyme. In Celtic Frost's case, the end result was a rather terrifyingly bad version of hair metal, a disastrous decision for everyone involved- the old fans rejected CF, and there were no new fans to pick up the slack because the attempt was so dire. Anoint the Dead. What kind of sound you think it would make if it could utter any words? Encyclopaedia Metallum: The Metal Archives Message board FAQ Search Register Login Bands you used to hate, but now like Go to page Previous 1, 2, 3. The album opens with a blast and a shriek. From the straight up riff genius of Slit Your Guts to the more experimental and atmospheric mood of tracks like The End, the band has always been nothing short of awesome. The entire effect is so utterly half-assed and thrown together that it is surprising. Leach. Ultimately the two things lacking on here are an individual identity and quality songwriting, and all of the chops and fancy drum acrobatics any virtuoso can dish out do not come close to replacing those essential elements of a good album. Probably the worst offender here is the song "Bound Dead", which transforms into vapid power chord strumming that carries his voice into very obvious 'we wanna be liked by people who would otherwise hate us' territory; but this is not the sole transgressor. Prior to this release, Cryptopsy was one the most respected modern metal bands from Canada (Sure, they began to release some duds, but you obviously listen to None So Vile weekly). The Unspoken King (2007–2011) The new album was originally to be called The Book of Suffering, and was to be a double album, but on April 23, 2007, Cryptopsy announced that Lord Worm had been fired from the band and that they were looking for a new vocalist. So, what was that I said about accessibility earlier? I have no problem with the electronics; they are, once again, out of place in a Cryptopsy album, but their use isn’t so overwhelming that it sounds like a terrible Dimmu Borgir ripoff. 0. Contemplate Regicide. To be fair, I know that if you compare this to the likes of "Blasphemy Made Flesh" and "Whisper Supremacy", this can be seen as a transparent cash-in to the deathcore scene. She does appear every once in a while but thankfully, her performances are scarce and she doesn't overtake the music. I strongly believe if he was to leave this style with 3 Mile Scream and not move it into Cryptopsy, he would have gotten more praise. Finally, the vocals. To be honest, I'd prefer it if excrement like 'The Plagued' actually held its' sense of melody for the whole song, instead of going from woeful clean parts to terrible ill fitting blast sections. It basically means an album likely would receive more praise and be appreciated more if it were simply released under a different band name and aimed at a different crowd. The drumming is also top notch, with Flo having ditched none of his crazily speedy blast beats, giving this album a real feel of intensity that was missing from every album they have done since None So Vile. Right, there you go. At least he doesn’t have a hilarious, nicely kept, scene haircut like most of the members do now. Forum Index » Music Talk » Metal Discussion. And without Jon Levasseur, it seems as if the core of the Cryptopsy we've known of is now gone, leaving the poorly fitting Alex Auburn in control. One exception is the six and a half minute song, Bound Dead, which is also among the worst. When Cryptopsy announced their lineup change, adding a keyboard player and vocalist who could perform cleans, quite a lot of fans (myself included) were quite intrigued, as the more experimental and chilled out stuff on Once Was Not was actually very good. Now, to be honest, since WS onwards, song writing has been shunned quite comprehensively by the group. Its really quite surprising that he was accepted into the band, they even asked for singers with good voices and the ability to sing on key, rather than just any random guy who wants to give it a go, as if to say that the average metalcore voice is too crude... Let’s just try to remember them for what they once were. That's the best excuse I can think of for ever having such an unnecessary band member. I guess my reasoning for this decision, along with it being a moot point by now, is that this band isn't Cryptopsy anymore. Almost a lazy attempt at selling out, there's no real attempt to be catchy and make things enjoyable and sugary for the first time listener; instead the band just forces its' formula (which in CF's case was getting quite tired at that point) into the style of music that's popular at the time. I personally got into them after this album came out anyway, but started with "None So Vile" and "Blasphemy Made Flesh" around the same time, so I already knew what the band was about before hearing this. 4. But lets not get hung up on something silly like breakdowns, because that is but a small part of the music as a whole. In all, there are nearly no redeeming qualities at all, and deserves every chunk of shit thrown at it. So its kind of a neat concept, but is it welcomed into Cryptopsy's discography? Silence the Tyrants. I don't think he is an amazing vocalist and his performance here is subpar in comparison to what he would do with the band's following self-titled album, where he would drop all clean vocals. First, because I like the first two Cryptopsy albums best, and when Lord Worm returned for their 5th album, I figured it would be a triumphant return. The resulting melody, and I use the term extremely loosely here, has no memory grabbing elements, it’s just there and then it’s gone just as soon as the random harshness takes over. My Dying Bride excepted...). Okay, so normally I don't write bad reviews, but this time I just can't help myself. Even if they managed to return to the roots on the next album (you know as well as I do that won't happen), this is unforgivable. Be nice to see if he starts his own band or something, I might give it a look if he does. And while keyboardist Maggie Durand is very capable, she is barely used at all on this album, making many a disgruntled Cryptopsy fan wonder why they bothered. Cheated of his redemption and later learning of the Silent War between the Inhumans and … 36 / 100. Bemoan the Martyr is the first track with major use of clean vocals. One thing that I've learnt in my 9 or so years as a metal and music listener in general is that selling out isn't always as bad as it seems, as long as it's done right. The music itself is very hit or miss. A mistake because of what they did to their legacy. 07. In many respects. This might sound alright on some rock album you found at a CD store with a weird low-budget album cover, but here it seems kind of unrefined for a metal album. The Unspoken King isn't a bad record because it forges a truce between Cryptopsy's spurious, furious history and deathcore's tattooed, stretch-lobed, emo-haired breakdowns. The Unspoken King on kanadalaisen teknisen death metal -yhtyeen, Cryptopsyn kuudes studioalbumi. Albumi on viimeinen jolla kitaristi Alex Auburn sekä basisti Eric Langlois soittavat. He was later recovered by the Alpha Primitives, who cared for their fallen king. It opens with a LP styled "emotional" spoken word part à la Points of Authority before opening with an even more numetal "epic", "soaring", "emotional" entry for the sung vocals. As if they knew what they were doing was wrong, and didn't want anybody to know, like a 15 year old boy tying to masturbate in the room adjacent to his sleeping parents. Not news, even if The Unspoken King streamlined the techniques in terms of structure and studio engineering to position itself better in the theater of warfare with up and comers like Job for a Cowboy or Whitechapel. Now onto what I thought could be the only saving grace for this album, but of course that did not turn out to be the case. 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