Cryptic Hatred - Internal Torment

Cryptic Hatred's subversiveness is invigorating. It is pleasing to hear a band from a region that does not conform to the style of music that has long been associated with that region. As good as it can often sound, it is predictable when a Black Metal band from Norway wears their Mayhem and Darkthrone influences on their sleeve. There is a balance to be reached though, as a region will always have an imprint on a band's sound, especially if that region has strong social, geographical or climatic association. Cryptic Hatred are a Death Metal band from Finland and they sound like they are from Florida. Their style of Death Metal has more in common with Cannibal Corpse than it does Demilich, and with their new album, Internal Torment, Cryptic Hatred has proven that they are an impressive Death Metal newcomer.

Internal Torment has an interesting thread of experimentation running through its 37 minute long duration. That experimentation comes in the form of echoed vocal and guitar effects, keyboards and soundscapes, melodic leads, evil solos and changes in pace that occasionally nears Doom territory. There is also an opening riff on "Homicidal Intentions" that is not a traditional Death Metal riff, and without the rhythm section's drive, it would not sound out of place on an Alternative Metal album from the early 2000s.

Cryptic Hatred strike an impressive balance between writing memorable and catchy songs, and making them equally as brutal and savage. There is groove all over this, and if it does not come in the form of the muscular and meaty sounding guitars, then it is the vocal delivery, and cadence, which is used like an extra instrument. If there is one noticeable improvement since their debut, Nocturnal Sickness, then it is the impact of the vocals. The ability of the rhythm section to counter attack the vocals and guitars is imposing. Rarely can you hear the bass so clearly on a Death Metal album, and it is not just a low end rumble either, you can hear the strings rattling under the fingers. 37 minutes is the perfect length for a Death Metal album, and while it does not guarantee quality, in the case of Internal Torment, every second is used to capture the intensity and passion of the band. It would seem obvious, but it is not an abundant trait amongst the scene to sound energised on record, and Cryptic Hatred do that on Internal Torment.

Reading the track list and looking at the art work while you listen to he album can expose the band's weaknesses. The good news is that they are easily fixed with some careful thought and effort. The track list is littered with themes of death, evil, homicide and hatred; however, the sound of the band is more mature and layered than that; more psychological or cerebral perhaps. Cryptic Hatred can do better than this, and while the track titles could have been written by a 15 year old, it is a minor issue, and they are superficial concerns only. The artwork reflects an internal torment, and it is quite frightening, however, the majority of the track titles are lazy and do not reflect the aesthetic of the artwork. Musically, the title track is not the strongest on the album, and being the longest song (and the closing song) is a shame, as it drops the quality of the overall experience from being excellent to very good. The atmospheric parts also seem like they were an afterthought, which is a trap that they fell into due to the storm and shovel dragging soundscape on "Death is Upon You." To compound the title track's issues is the confusing placement of the interlude song, "The Passage," which would have had a greater impact after the third song, "Chasm of Void," rather than being the penultimate track.

With two albums now, Cryptic Hatred has their foot in the door, and the gate keepers have dropped their guards. Cryptic Hatred are an above average Death Metal band that has the ability to release a classic one day, but Internal Torment is not quite there. They are going to need to bridge the gap between wanting to appear experimental and truly embracing innovation. To do that, Cryptic Hatred do not need to embrace radical, Death Metal exorcisms, but they will need to become vulnerable, explore unpredictability, and be brave. The best kind of albums are those that sound like the artist is going to fall apart at any second, the conflict between control and chaos, and when captured effectively, it represents true internal torment.