The Unspoken King is the seventh studio album of the Canadian death metal band Cryptopsy. Positive press and negative mudslinging are more alike than one would ever think. I don’t think anyone was. The Headsmen actually has a few enjoyable parts, but it's one of the VERY rare occasions. 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. Cryptopsy's worst? So the 'The Unspoken King' in a nutshell. On, The Unspoken King though, even the drumming has been sacrificed. Maybe not in terms of structure, as that's a stupid thing to bitch about, let alone take time to make an analytical evaluation of such a thing, but in terms of what is in the songs. As best as I can figure, these guys were trying to emulate just about every current sensation from Job for a Cowboy and Atreyu, to some more respectable outfits such as Into Eternity. 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. That's the best excuse I can think of for ever having such an unnecessary band member. Throughout Cryptopsy's history, despite the fairly turbulent lineup changes, they have always managed to release top quality death metal albums. There are far too many examples of this angsty, off-key singing on The Unspoken King, however the absolute worst is towards the beginning of “Bemoan the Martyr”. An example of this would be in 'Bemoan The Martyr', where he lets out some long held notes over a Langlois-dominated groove riff. I must say I was expecting their worst album when I heard Lord Worm left again, but I wasn’t expecting this, nor was I prepared. The 47 minute length of this album is almost as despicable as its musical content. Is it because there are some faint keyboards? Anonyme. 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. I have to say, when I found out Cryptopsy was finally following up Once Was not, I was excited as hell. Not nearly as many breakdowns! And again, a laughable display of failure is here. Do not encourage or fund this shitty band. It is also worth nothing that this album has the worst ending that an album has ever had. The description for this album says “the band instead perform deathcore on this album”. Life's funny that way. The album’s production might be it’s only real saving grace, the instruments all come across very clearly. “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. His clean singing, while not completely terrible, is…why the hell is there clean singing in a Cryptopsy album?! Face it, they’re not going back to the writing style of their first two albums. Mastering SID Code: IFPI LB 50 Now they have replaced that technicality for ‘core’ breakdowns, and generic ones at that. Keyboards. Still, better than what you usually get, but you never find yourself sitting there in bewilderment as to how he managed to play a certain section. Unfortunately, even the one or two decent riffs are totally mudded up and ruined by the vocals of Matt McGachy. She has sections in songs like "Leach", "Resurgence of an Empire", "Silence the Tyrants", and "Contemplate Regicide". She plays for a total of roughly 20 seconds on the whole album, yet they have her upfront for most of the marketing photos. 07. There, now you know my thoughts on this album. Eric also lets me down, despite being one of favourite bass players, due to his sheer power and volume. Please, do yourselves a favor and don't follow in my footsteps. If this album is what you call “deathcore”, then you might as well label most of their catalog as “deathcore”. Or the band will throw in a bit of a techno electronic substrate into a brief passage, but all of it is incredibly useless. However, his voice, unlike most, is not my main complaint with The Unspoken King. Definitely. It seems like Monier decided to adjust to what MaGachy is accustomed to. Really not a lot going on musically in any of these sections. 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. He also even uses metalcore-esque clean vocals at times, in tracks such as "Bemoan the Martyr", "Leach", and "The Plagued". Obviously the latter of these influences demands clean vocals, though the hack that Flo has recruited isn’t fit to lick Stu Block’s boots when it comes to screams or clean singing. I'm not averse to Cryptopsy using synthesizers, as they made for an interesting orchestral excursion on the prior album, and I have no problem with synthesizers in general if they're adding atmosphere to the music. If you were to judge this album from an outsider perspective (not being an established Cryptopsy fan) you might think this is an interesting and a worthy listen. He’s lost the complex edge to him, leaving nothing more than a thumping mass of loud slap bass. The music would have lost nothing without it. 09. Even worse, the 'keyboardist' Maggie Durand. 3. Genres: Deathcore. Does anyone else realize just how much Cryptopsy is selling out? None So Vile and Blasphemy Made Flesh are easily two of my favorite death metal albums, and even though their later works like Whisper Supremacy and Once Was Not weren’t quite on the same level, they were still great in their own rights. Donner votre avis Votre avis a été enregistr é Voir tous les avis. Album highlights: If Helloween would've released Obscura, would it still have such a ridiculously high score? He seems to rely more on the inhale technique, which is a commonality in deathcore. She does appear every once in a while but thankfully, her performances are scarce and she doesn't overtake the music. "Roots", "Supercharger", "St. Anger", "Illud Divinum Insanus"...all discounted as crap beyond crap given the pedigree of their parent bands from one and all. or anything of the sort. But I was wrong, as is most every other reviewer on this page. I guess my reasoning for this decision, along with it being a moot point by now, is that this band isn't Cryptopsy anymore. Because of this, his performance is highly controversial and many times dismissed as shitty. As I listen to The Unspoken King I can’t help but chuckle at how obvious it should have been that this disastrous shift in sound was on its way. Originally written for Sputnik Music. Needless to say, Cryptopsy fit into the 'bad sell out' category. While the former would attract and the latter would repel, consider the notion of both being parallel paths towards personal curiosity. So it makes a lot of sense that the band's audience would itself rub off on the band, as it always had, and create a feedback loop through the years. Flo Mournier once again astounds with his mastery of the kit, performing high speed rolls and blasts that I swear are damn-near impossible to undertake by a human hand. The songs all retain that very true death metal Cryptopsy sound that has remained in their records all these years. Not a bad way to go, really. Generally the kind of music aimed at getting people "psyched up" in hardcore moshpit style. 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 guitars are completely devoid of any memorability- go on, name one riff from this album. 195 likes. Instead you get long double bass sections with Flo trying to do as much as possible, but still sounding like your standard rhythm keeper. This is a band with 2 classic line up Cryptopsy members, and four people who are simply, not Cryptopsy. It seems like the guitarists got lazy, probably because they couldn't keep from laughing at McGachy's vocals. While purely anecdotal evidence, I, myself, living in one of the USA's most massive and trendsetting metalcore markets, heard a lot more about Cryptopsy from the 'core kids than the bedraggled death metal minority. At the very best, Alex Auburn and Christian Donaldson will tear into some semi-decent death/thrash break for all too brief a time, or dial into the old school death metal that once inspired Cryptopsy in the 90s. These bands might as well not have guitarists and bassists at all considering how high the vocals and drums tend to be in the mix and how their parts rob said instruments of any prominence. While still in the early hours of the morning, the Unspoken King and his army lie asleep from the excessive partying because they don’t know any better. 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. The entire effect is so utterly half-assed and thrown together that it is surprising. Essentially there is an uncomfortable mix of blasts and whines. The problem is, the so-called "loyal" fans (i.e. I delayed buying this album for a couple reasons. Right from the beginning, with 'Worship Your Demons', you can tell it's going to be. What few synth lines ARE heard through the morass of instrumentation don't do anything to augment the overall product. Does any of this automatically make Cryptopsy a “deathcore” band? 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. (Exit) the Few. So, what is this replacement band like then? Les albums de Cryptopsy. I'm listening to a mallcore abortion with traces of deathcore thrown in just to piss off the old fans. The real tragedy about this song is that they start out with a great intro riff and then never bring it back, resulting in the first minute and a half being sheer classic death metal ownage followed by a mixture of half assed metalcore bullshit and some semi-solid ideas. 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. There has been a strong focus on the clean vocals more than anything else. Mr. Believe it or not, someone will like it, but its not at all what you wanted nor what you like. Basically, due to the perpetual breakdown he doesn't have his usual chance to show off his amazing blast and fill compositions. The clean vocals sound like Linkin Park's (which I shall refer to as LP from here on in) Chester Bennington and are utilised quite poorly. Now they have exchanged fan bases from metalheads to scene kids. A joke because, well, just listen to the music. Do not listen to The Unspoken King. 1. What a bore. What goes on in Area 51? 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. What kind of sound you think it would make if it could utter any words? In either case, the vocals just don't work for this style of music. The keyboards are almost non-existent. 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. And yeah, I could have done without the start-stop riffs too. 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. This is easily the most bizarre case of "selloutitis" I've ever witnessed, only being second to Nocturnal Rites' far fall from grace at about this exact same time last year, with a once respectable Death Metal band ditching a large portion of their Deathy influences in favor for a quasi-modern songwriting style that does nothing but give me a migraine. These really do reduce this band at times to being no heavier than bands like Job For A Cowboy, who have a fake heaviness. And as far as the general songwriting goes, this is not NEARLY as asinine or weak-kneed as it's made out to be. Even after "Illud Divinum Insanus" by Morbid Angel came out, which is definitely a sorry excuse for an album, this album is still spoken of with much discontent. Now, on this entire new album, you can hear her playing for a collective 20 seconds or so. 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. This, in of itself, this stylistic choice, does not bother me. Don't think that this redeems the album in any way though, as it makes it even harder to forget that this IS Cryptopsy, the band that made None So Vile and Blasphemy Made Flesh. They can be used subtly to great effect (Soilwork's Natural Born Chaos), but here they are nearly 100% arbitrary. Consistent glad-handing would cause someone to partake in that which is put on so high a pedestal, but for some folk (this reviewer included), being universally shat on would make us cock our heads to the side and wonder "It can't be THAT bad! She was probably just banging McGarthy at the time and asked to be in the photoshoot. This section reduces me to tears of laughter it sounds so comical. He even implements clean singing into some songs, which caught me just as off guard as anyone else. My best comparison is that he sounds like the guy from Incubus just not as well delivered. 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