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Blasting chops of guitars syncopate under a crucifixion hammerbeat and in classic death metal style integrates several riffs into a wrapping conclusion which bursts through delicate, silvery, and rare melody of speed-picked notes, atonal but relevant in the hardcore sense of instantiated languages: in each riff, elements are introduced and manipulated according to their relative relationships, creating an objective space of nihilistically minimized musical pieces.

Percussion is spectacular, from the tension-laden uphill climbing march beats of ancient hardcore bands to the blastbeat fleeting ring of off-beat sub-phrases stitching out fragments of a subconscious conclusion.

In acidic deconstructors the farflung essence of vitriol spills through harmonic barriers as the irreverent, atonal, destructive and insanely energetic voice of lead guitar, over the passage of riffs thoroughly borrowing from grindcore but rooted in the thundering finality of destruction that metal and thrash employ.

Of vocals we hear mostly rich, full, deep tone and abrasive deconstructive patterning on the inside of each sound, an incomparable strength of signal and a beautiful relentlessness, played well against the cruising bass backdrop with a counterpoint cadence borrowed from the furious, embittered mainmen of hardcore fifteen years ago.

Through simplification and repetition in structure and yet development of individual elements to have more flavor and individualized conception, Cryptopsy have brought themselves into a world of crossover music that holds much of the future for extreme metal-influenced genres. Conventional enough in its brutality, and rhythmically similar to a police beating, this release opens up doors for this top-notch Canadian band and others to explore.

Much as Brutal Truth probed a year ago, Cryptopsy investigate counter-rhythms in strum and the use of melody and dissonance to enhance otherwise straight acerbic mixtures of power chords. The resulting evolution of style enforces the minimal and nihilistic compostion of alienation; some call it atonal, some chromatic, but for the record it is a simple but effective theory of the relationship of tones. Combined with the surgical precision workhorse rhythm of complex but effective drumming, this produces a powerful but dreamlike prose of death metal's origin.

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