While I don’t fault any band for wanting to expand their horizons and try something different, the clean vocals in this case just don’t cut it and are simply out of that sort of “comfort zone” for this listener for this band. The guitars do sound quite good, but are mixed quite low. Cryptopsy has always had a penchant for spastic, unorthodox rhythms and The Unspoken King fails miserably in this tradition. There is at least one in every song but usually several. As the end of the day, "The Unspoken King" is a serious misfire, that's for sure, and a god-damn mess at worst, but I don't feel it's one of the worst albums ever made. A failed attempt at creativity because they have become clones of mainstream deathcore bands. Author Message Previous topic | Next topic; Zombie_Quixote Metal newbie . Cryptopsy's newest record isn't JUST a sellout, it's a bad sellout, it's a terrible attempt at a genre that isn't particularly hard to stuff up. Worm must be laughing his pants off about how his band couldn’t survive without him. It's as though the 'topsy boys noticed the skinny-jeaned hordes clamoring at Kristin Randall and Ashley Ellyon and figured "if it works for Winds of Plague, it could work for us!" Then it gets even worse, as the song plummets into a tedious slow section sounding no different from any deathcore band before being interrupted by yet another blast that has no musical reason to be there. These are all words and phrases that could be accurately used to describe Cryptopsy’s latest effort, The Unspoken King. Anonyme. Bemoan the Martyr. And keyboards? The harsh vocals range between hollow, slightly weak grunts, similar to Swedish style bands such as the Haunted, attempted shrieks which sound like pig squeals, to mid-ranged stuff which resemble at best Soilwork's and at worst Disturbed's vocal styles. Now we can add a new item to our never-ending list of criteria: What persuaded Cryptopsy to write this music? It is pure emo, and its effect is the total opposite of intended - no doubt as some "EPIC" conclusion, but it hammers the final nail into the coffin that this band can no longer write songs, and have so little sense of reality that it's amazing they can still play their instruments. It is safe to say that hardly any of them expected anything having to do with metalcore, but as it turns out, metalcore is a major ingredient on The Unspoken King, which finds Cryptopsy unveiling a new six-person lineup that includes newcomer Matt McGachy (who has been with the Montreal-based band 3 Mile Scream) on lead vocals, Flo Mounier on drums, Alex Auburn and Chris Donaldson on guitar, Eric Langlois on bass, and newcomer Maggy Durand … It's a bad record because the songwriting is uniformly soulless and uninteresting. Granted, many of the solo sections are surrounded by 3 or 4 minutes of incredibly terrible sounding deathcore noise or groove metal riffs. This brings me to my final problem with this record. The result was The Unspoken King, a great release. In 2008, Cryptopsy released their first album after Lord Worm quit for good. Why is she here? However, in the last couple of years this band has seen its previously loyal fan base turn on them, spewing allegations of selling out and joining the sea of medio-core bands we find ourselves drowning in. "Leach". with the terrible ideas thrown in to create an unholy marriage of all that is bad about modern metal, with a few new nuances as well. This is a mixed bag album, but I really enjoy it and recommend it to everyone with an open mind. Every single song here feels about twice the length that it really is, and they're all filled TO THE FUCKING BRIM with ear-raping mallcoreish howling, whingy 14-year-old-angst clean vocals, oppressive, blatantly bad deathcore riffs and tons and tons of those fucking drums. I know I'll be bitched at for that comment, but I feel it holds merit here. Leach and Silence The Tyrants are the best evidence of this. 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 frequent blasting passages sound ineffectual and absurd in context with the rest of the music, heightening the feeling of inept and frustrated "anger" without any real focus, either on technicality or aggression, just watered down music aimed at mainstream appeal. EVERYONE that hates this album hates the vocals the most. I couldn't even make it one full paragraph. Come on, guys! How were they not laughing at how stupid sounding the vocals are? 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. "The Unspoken King" is actually a very well-executed deathcore album. If executed right in tandem with the music, the vocals sound quite "kingly" for lack of a better word; the kind of music you'd expect to hear if a king is slayed in battle. Life's funny that way. His high scream is essentially in the same vein. I delayed buying this album for a couple reasons. The riff isn't good anyway, but with those vocals it just sounds like Deftones with Cryptopsy production; not impressive. The entire effect is so utterly half-assed and thrown together that it is surprising. 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. The "tape a bunch of random riffs together" writing style is still in full effect on the heavy sections. Fortunately the keyboards are practically unnoticeable. The frequent chugging riffs under mid-paced vocals would appeal to people who like Korn, or perhaps fans of African tribal music. McGarthy’s vocals are what really drive this album into the shitter. A joke because, well, just listen to the music. Around 98% of the riffs are either painfully dull or just painful, essentially proving that without Jon Levasseur Cryptopsy riffs are just not good. 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. 9977952; CD). 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. His cleans are good for harmonies (found more on the latter half of the album). Not too pussified, nice. The riffs are as crazily fast and hard to play as fans have come to expect, as The Headsman and The Plagued will show. Honestly, its hard to single out just one reason. That's just about the worst insult one can bestow upon a band; that they sound like background music. This whole album is a drag to listen to; a grueling chore that I would only wish on my very worst enemies, and most of the time it's more boring than offensive, blending into the background like the harmless yelps of a tiny chihuahua nipping at your heels while you're trying to put the bacon on the stove in the morning. Apparently there was also a chick in the band at the time, but I literally don't think she recorded on the album, I'm not hearing any keyboards. 04. This isn't a total sellout, as the band could've gone totally over the line and written an album like Enemy of the Sun's debut, instead of a merely irritating one with shitty vocals and more simplistic playing than is usual for Cryptopsy. His death metal voice is high and resembles the recent trend of death core bands. Barcode: 5 051099 779525 Maybe they figured it was a failed experiment? The trepidation felt by many for this album is understandable; after all, it's a complete 180-degree turn from everything we've come to know and expect. 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. The Headsmen actually has a few enjoyable parts, but it's one of the VERY rare occasions. Mould SID Code: IFPI 0797 The Unspoken King is the sixth studio album by Canadian technical death metal band Cryptopsy. You can tell just how important Ms Durand was to the group considering she didn't even last a year before her ouster. Now, I still have to give credit when it's warranted, the first three songs are merely wet farts in comparison to the rest of the fully fledged turds on the remainder of the album. Let's find out..." This has lead to exposure to some of the most reprehensible albums the metal community has deemed unfit to wear their spiked wristbands. There, now you know my thoughts on this album. I try not to let double standards like that show in my opinions of music, but Cryptopsy set the bar for death metal so high ten years ago it’s saddening to see what they’ve become. It's because she doesn't exist. … Craptopsy has essentially created the perfect failure in the sense of the breakdowns. Originally written for Sputnik Music. A huge disappointment and a failed experiment although it can work. I've seen reviews saying he sounds "uninspired" but I really can't agree, as he sounds just as good as he always has. No, that is a case (albeit an extreme one) where the name actually becomes a hindrance. 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. For those Lord Worm fan boys out there, listen to this song to be convinced that Matt has every bit of the power Lord Worm had behind his vocals. 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. 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. His clean singing, while not completely terrible, is…why the hell is there clean singing in a Cryptopsy album?! The Plagued. There are of course deathcore-styled breakdowns and chugs, but really, death metal has always contained these elements, so it's really not TOO out of place. The Unspoken. This brings me to my first problem with this record. Not the case, if we glimpse back to the turn of the century, and also not the case that the band hadn't been struggling to define a direction for itself for the decade prior to this album's release. So really, this album is fairly good for a deathcore release. The lyrics are a mixed bag. Compared to classics like "None So Vile" and "Whisper Supremacy", this album is a sharp left turn. Genres: Deathcore. The production is pretty standard, but clear. The Unspoken King is the sixth studio album of the Canadian death metal band Cryptopsy. Beyond that, The Unspoken King seems like quite a lot of effort expended into a product that I can't imagine anyone wanting. At first it seems like an attempt to add some more "diversity", as the usual midrange Soilwork squawking continues throughout the song. This shift in the band's sound and the decrease in technicality that had made the band so influential within the technical death metal genre has sparked an almost universally negative fan reaction to this album. 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 only parts of the album which I even remotely enjoyed were some of the better 'ambient' parts, a couple of riffs where McGachy wasn't ruining them and the guitar solos, which were actually pretty damn good. Le plus utile. 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. Bound Dead . There are many problems with this album which contributes to my incredibly low rating. The Unspoken King is an affront to the Canadian music scene, death metal, and music in general. In fact, the double bass drum sounds like a snare. Lord Worm was out of the picture, having quit after Once Was Not, and the band now had new vocalist Matt McGachy and keyboardist Maggie Durand on the team. She has sections in songs like "Leach", "Resurgence of an Empire", "Silence the Tyrants", and "Contemplate Regicide". Anoint the Dead, to a very limited extent, has a None So Vile-esque vibe to it before more of the dissonant death core harmonies tear it down. 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. The funny thing about this album is how hard it tries. The cupped-mic, bizarre vocal approach and overtly antagonistic lyrics are as far removed from traditional death metal as one could get (thought thankfully not shooting for pig squealing nonsense). Leach. And as if the performances weren't dull and crappy enough, almost every song is over four minutes, which is way too long for this bullshit music. 4. Most of this album can be summed up by these 20 seconds. I'm sure the bass playing is also keeping busy here, but it too feels like it's on a valium drip. 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. Needless to say, Cryptopsy fit into the 'bad sell out' category. Overall, these drawbacks are small enough to overlook and appreciate the rest of the album for what it is: your typical millennium-era Cryptopsy. But the most puzzling part is that this still kind of sounds like Cryptopsy in places, most noticeably in Flo Mournier's drumming, still the same winding hurricane of brutality that it always was (although extremely simplified now, the feeling is still there). In short, they're a sub-par, marginally technical deathcore band with awkwardly implemented and horribly performed softer sections. Okay, so normally I don't write bad reviews, but this time I just can't help myself. I can see how long-time Cryptopsy fans would be alienated by this album. Very technical. It's like a saxophonist joining Motorhead! The guitars are completely devoid of any memorability- go on, name one riff from this album. Although, before you get too worried, rest assured that they haven't completely forgotten themselves. Of course it’s hard to find a replacement for Lord Worm, but they couldn’t have done much worse than this pre-teen. Flo Mounier’s drums sound as uninspired as Lars during St. Anger takes. The Unspoken King could certainly be appreciated a little more if the name of the band is pushed from your mind. Worship Your Demons introduces this formulaic pattern which ends up coming off as camedic. It's bad, but I don't think it's as bad as other folks say it is. Otherwise, who cares? He's not stunning. It stands out from all of their other albums. 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 Unspoken King" is Cryptopsy's sixth full-length studio album and definitely their most different effort. 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. If they were all around three, it would take away from the boredom but this is just another mistake these idiots made. I might vouch that this album's situation is very unique and suffers from an effect that could be coined the "The Unspoken King Effect", if you're the kind of person that likes discussing metal whilst pretending to be a scientist or something. “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. 195 likes. 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. Some are there, sure, as is commonplace within this style, but not quite as overt as many of their one-time contemporaries. Did they go way too far? There has been a strong focus on the clean vocals more than anything else. Even the Unspoken King has aged decently and plays much better in a shuffle format with one song at a time. Where it gets fun here is because of the new soft sections, which are unfortunately not like Cold Hate, Warm Blood's jazzy sections, instead they sound like the Deftones or some similar band.
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