Cardiac Necropsy [Singapore]
Technical Death Metal
Singapore’s Cardiac Necropsy has come a long way since their formation in 1991. Despite originally forming as a death metal band, the group reactivated in 2000 with a musical approach that leans towards goregrind, and finally released their debut full length album last year in the form of Morbid Scum Division. The band’s hardworking ethics are shown, with little delay in writing new songs, quickly releasing their follow up album, Shayateen, this year. Samples released before the official release of Shayateen proved pretty surprising, with the new material seeing the band once more embracing their death metal side, a far cry from the porno/goregrind that was on Morbid Scum Division just a year ago.
Into Obliteration sends chills down the listener’s back, with the quirky sound effects that are present utilised and the chantings at the background, but all hell breaks loose as soon as Abaddon Earth begins. The shift in the band’s sound is extremely drastic and this is evident not only in the playing of the individual band members, but also in the entire song structure and songwriting on Shayateen. While the goregrind material of Cardiac Necropsy had an extremely straightforward, brutal approach, those tended to obscure the true talents of the band. On Shayateen though, the band members push themselves to the limit, and this is most evident in the riffs and leads of guitarist Farid, ranging from just straight on crushing, chugging segments to complex finger work. The drums here also take centre stage, with the relentless blasting that lasts almost the entirety of the album. Band mastermind Yusri retains his rather grindish approach to his vocals, and this serves to give the album a more abrasive and brutal sound.
Songwriting-wise, the influences from such bands as Cryptopsy are pretty clear, especially with the tightness of the instruments and the complexities that are on the album, and that breakneck speed of the album. Apart from that, there are even some slight Polish black/death metal elements that could be spotted at times, like on Doomsday Architect, sounding like an infinitely more technical version of Behemoth. Shayateen‘s lyrics revolve around destruction with an Islamic basis, and this is also shown in the melodies that are unleashed on Farid’s leads, and also on the rather Eastern feel that some songs contain, in particular the drumming approach that is taken and the additional percussions on songs like Azazel (The Personification of Impurity).
To be honest, Cardiac Necropsy‘s goregrind period failed to capture my attention at all (being a non-fan of the genre), even with last year’s Morbid Scum Division, and it was rather hard to take the band seriously. But with Shayateen, the band has exceeded all expectations, and has clearly outdone themselves on all levels, from musicianship to songwriting, and is definitely an album that would satisfy anyone with a craving for some brutal, technical death metal.
Heavy Metal Tribune Issue 3
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