Review Summary: A garden of unearthly delights.
If there was one solid criticism aimed towards Crypt Sermon’s method of songwriting in their otherwise well-received debut, it was their lack of originality. Mostly tongue-in-cheek and usually light-hearted, the thrown allegations were masked as remarks of a rather healthy and constructive discussion. Unfortunately, the scenery became fertile ground once again (internet is a wonderful playground) for some trolling nihilists who exerted severe criticism on the band. The members of this group were given names they certainly didn’t deserve, not for any reason at all. They were called copycats; musicians who rely too much on their influences to write their riffs. Misguided as it was, that criticism was not 100% inaccurate; Crypt Sermon had crafted a sound that somehow resembled much of the old-school doom metal. And for some folks that was a turn-off. So a question was hanging in the air: These guys may have the talent, but can they fully detach from their childhood heroes and grow as a band in the process?
It took four long years for Crypt Sermon to release their long-anticipated second album. In the meantime, a lot had changed in the scene and within the band as well. There were changes in the lineup. A new bassist replaced the original player who performed on the debut. In return, the new guy got replaced with Vektor’s ex-bassist, Frank Chin. As for a new record, no news came across. There was but barely a whisper, an unconfirmed rumor, a picture on social media. Nothing substantial though. Earlier this year, a single was released in the form of
Key of Solomon. Although I hadn’t learned of its existence at the time, I read some reviews later on which spoke about something different these guys are trying to pull off this time. Listening to this album didn’t make me change my mind; the reports were correct.
The Ruins of Fading Light is the album where Crypt Sermon tries first and foremost to distance themselves from the bands they worship. And in the process of doing so, they try to hone their style while broadening their horizons and expand their ideas. They want to take their music to newfound places and add more color to their palette. It’s a new chapter where these musicians aim to elevate their songwriting to the next pinnacle level. The kind of level that once achieved renders labels obsolete. The fans tagged them as an epic doom metal band. The guys from Crypt Sermon aspire for something greater. They strive to achieve a sound that will speak to the hearts of both the doom purists and the prog devotees. To those who like the new and the old. Their new work is also a love letter to the fans with a taste not just for Candlemass and S. Aeturnus, but to those who love bands such as Manowar, Pagan Altar and Solstice.
The songwriting leans a bit towards more progressive territories than just strict, down-tuned doom-monolithism without however sacrificing an ounce of its epic feel. The final product might appeal more to the fans of Argus, Visigoth and Atlantean Kodex, than to those who have an affliction for Pallbearer, Khemmis and Electric Wizard. In their essence, the riffs seem to retain the C’mass reference yet again. But every spin reveals new twists and turns. The guitar work hosts several thematic touches that include a little bit of 80’s Black Sabbath, Manowar, Manila Road, and even the Viking-era Bathory. The guitarists have this ability to arrange melody and heaviness on the spot which is what sets them apart from your average run-of-the-mill doom bands. They also appear to have a knack for developing addictive harmonies and hooks. Who said that a band that operates mainly in the underground circles (for the time being) is forbidden from writing catchy songs? Being the heaviest metal gang around and composing record chart-worthy songs is 100% achievable through skillful songwriting. And these guys have insane skills when it comes to writing super exciting tunes. Trust me, some of the songs will stick in your head for quite some time.
If we compare this with
Out of the Garden, the key differences are the slightly more chaotic guitar solos and Wilson’s different vocal approach. Everything else that was good about The Garden remains virtually the same: The riffs are nasty and tasty with more punch added than before. The war-like drumming enhances the barbaric tone; the beats slam your earholes like a sledgehammer, forcing you to feel like an ancient warlord who raids the roads of an old village in the middle Ages, breaking, hacking and burning everything in sight. The glorious ambiances and samples paint an unforgettable journey into the medieval epoch. All of the above elements are glued together to dress the narrative structure of this exotic mythopoeia. The result is almost magical; a dreamily sound-scape containing images and tales of knightly endeavors ready to vanish in long forgotten, misty realms, bound to never escape their ill-fated quests. Don’t think for a second, though, that this record is all about cheerful swordplay and wizardry. It’s still a doom album through and through. Therefore, despite the ecstasy and the epic vibes, a strong sense of a mournful dread creeps beneath the instrumentation top layout. And it all works just like a charm because it never compromises the genre’s bittersweet character.
The music owes much to the revered Swedes but this time it’s mostly for its production values; it seems Crypt Sermon tried to re-create the aesthetics and techniques to approach that big sound the late-era C’mass records had achieved. The project did not end up entirely successful. The production does indeed capture a huge, shiny sound but it feels a bit sloppy in parts.
During the intervening years, Brook Wilson’s vocals underwent a serious overhaul. I don’t know what the hell this guy smoked during the past four years but here he sounds raspy as fvck, especially when he sings in a higher register. He sounds like Chester Bennington, especially when he oversings. Belting is not the only change, though; Wilson also employs some extreme metal grunts when he feels the song needs that approach. Overall, we’re dealing with a multifaceted delivery here with vocal harmonies meandering from a raspy deliverance to battle cries, narration and everything in between.
Now let’s talk about the negatives of the record, though admittedly, not many exist. The three instrumental interludes intertwined with the tracklisting,
Epochal Vestiges,
Oath of Exile, and
Enslave the Heathens offer acoustic tranquility and may add some sense of cosmopolitan mystery, but it’s nothing more than just that; a small, unnecessary embellishment. There's a lot more shredding on the new album of which I’m not a big fan of. In fact, I think Steve Jansson is just another American guitarist with the bad habit of incorporating a bit too much of EVH, Dimebag Darrell and Marty Friedman into his songwriting and it’s just doesn’t work all the time. The only moment when Jansson does really good use of his soloing skills is on the song
Our Reverend’s Grave, which is truly one of the best metal solos I've heard in the contemporary era. Otherwise, most of the shredding comes off unbalanced and doesn't feel like a standout piece that would elevate the song. All we get is one more technical display where “speed matters the most”. Unfortunately, this has become a staple in the American way of playing heavy metal, its part of the American mentality and it will not wear off that easily.
Another criticism can be expressed regarding the flow of the record. The
Garden, as a whole, was a bit more consistent, although the songs didn't show any exponential growth. This album is exactly the opposite; some of the songs work wonders and given the time, can become classics within the genre. But the rest of the catalog isn't all that compelling. For example,
Christ is Dead is an interesting song with nice riffs and solos. Everything works well until the middle experimenting sequence comes in, with its subtle chord progressions and weird vocals working their way towards the conclusive orchestration. It's an alternative approach to their songwriting, yes, but it has zero effect on the whole song. Wilson’s singing is one more debating topic. The amount of strain he puts in his cords is oftentimes a bit too much for his own good and disconnects the listener from the song. What's more, his new approach shrinks his presence which can be a disaster for this style of metal.
Despite the negatives,
The Ruins is an album made out of passion and respect for all the things the genre represents. These guys love what they’re doing and it shows. Mishaps may happen and will happen. The most exciting thing about Crypt Sermon is what the future may hold. The band's talent cannot be disputed. If they can keep pushing their boundaries and face the challenges successfully, they will eventually become one of the all-time greats in the genre. For the time being, find this album and just enjoy it, buy it if you can. It is, by all means, a wonderful alloy of emotions and crushing punishment religiously chiseled all the way. It’s a passageway to the silk road of doom. A garden of unearthly delights.
Recommended Tracks:
Key of Solomon
Our Reverend's Grave
The Snake Handler
The Ruins of Fading Light
