2021’s debut by Brazilian’s Crypta was sufficiently good for me to buy it on vinyl. Now, whether it was the pandemic which allowed me to have enough loose change to shell out, or the enchanting way that four ladies, two formerly of Nervosa, could strip the paint off the living room walls with their bruising death metal, I’m not sure, but whatever it was, Crypta have taken that formula, given it a good shake, and are back for round two with an equally bruising beast of a release.
Since Echoes of the Soul, Luana Dametto (drums) and Fernanda Lira (vocals) have parted ways with Sonia Anubis and the band now features guitarists Tainá Bergamaschi and Jessica di Falchi. It’s not held them back in any shape or form, with the musicianship comfortably higher than on their debut. Yes, they still bring it hard, fast, and with ample muscle, with Lira’s croaking roar more suited to black metal than the chosen death genre, but they are also showing a subtle change in songwriting and composition. The slower paced “Stronghold” is case in point. Whilst at times it is a juggernaut with no breaks, there is plenty of melody laced throughout it, with dramatic interludes, plenty of soaring lead solos, and a blistering machine gun like delivery from Dametto. It’s a standout track on an album crammed full of face-melting metal.
Echoes of the Soul was explosive, aggressive, punishing in equal measure. It also had a rawness that was necessary for that release. Jens Bogren is back at the helm for mastering with Daniel Begstrand’s mixing giving the album a more polished feel. But that doesn’t mean that the feral anger that surged through the debut isn’t still present. Not at all, it’s very much in evidence.
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After “The Aftermath” provides a gentle intro to the album, it’s a ferocious onslaught from start to finish. It’s only on the short “The Limbo”, strategically placed in the centre of the album, where breath is permitted. Elsewhere, there’s the dynamic brutality of “Dark Clouds”, the melodic undertones of “Trial of Traitors” and the gnarly groove on “Lullaby for the Forsaken”. All have an undeniable Crypta flavour, with Lira’s vocals summoned from another world, such is their character.
If I have one complaint, it’s that the album is a little too long. 13 tracks in total, even if three of them are intro, outro, and centrepiece, make it slightly repetitive. It’s not a huge issue, for the variation within the album, despite the band solidly holding their formula, is enough to maintain the interest. It’s an album that demonstrates a maturity in many aspects of Crypta’s development, and as such, overall, it’s a compelling listen if you are a fan of death metal with black infused elements.
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Shades of Sorrow is out on August 4th
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