They made blasphemy sound fresh on their debut, but with their follow-up, CRYPTOPSY claimed the crown as the most vile band in all of death metal. From the album\u2019s classic cover painting down to its guttural production, \u2018None So Vile\u2019 established death metal as a truly vulgar art form upon its original 1996 release. The somber piano that opens \u201cPhobophile\u201d only premeditates madness. With each slurp from his chalice, Lord Worm smears the line between what\u2019s sacred and profane until it\u2019s dead and dripping. \u201cHatred and violence are not our ways, but firm we are\u201d, he barks before \u201cSlit Your Guts\u201d splats beneath the brutal slap of bassist Eric Langlois.<\/p>\n
Jon Levasseur shouldered more of the songwriting duties, though that didn\u2019t stop the band\u2019s lead guitarist continued to shred seamlessly between brutal chugs and blistering technical riffing. For his finishing move, he erupts into a white-hot solo on album closer \u201cOrgiastic Disembowelment\u201d.
\nOf course, CRYPTOPSY has always followed the textbook drumming of Flo Mounier. \u201cGraves of the Fathers\u201d quickly cemented itself amongst circle pits, trampled underfoot by a relentless piling-on of blast beats and oddly-timed bursts of double bass.<\/p>\n
CRYPTOPSY would win a JUNO after continuing to push the limits of extremity over the next three decades. Still, their second album is worshiped by gatekeepers and fresh heshers to the underground. \u201cYou won\u2019t find a more deserving album to be the first-ever Canadian entry into the Decibel Hall of Fame\u201d, the magazine wrote about \u2018None So Vile\u2019, which they named the tenth best death metal album of all time.<\/p>\n
On \u2018None So Vile\u2019, CRYPTOPSY cemented their place forever amongst metal\u2019s unholy crypt.<\/p>\n