Review by Felix on April 12, 2021.

Thrash metal is no academic style. It is about transforming energy into sharp riffs and restless drumming. This kind of music has nothing to do with reading a book, the evaluation of scientific experiments or a forum discussion on the preservation of the pension system. On the other hand, there is progressive metal. This is the genre where musicians do not think about creating a good song, but how to confuse the listener irrevocably. That’s why they integrate a million twists and turns into every song. To be clear, I speak about twists and turns nobody has ever asked for (with the exception of the artist’s own ego). In short, thrash metal is god-like, progressive metal is nonsense. You can disagree with this conclusion, but only if you want to branded as a liar.

Despite this undeniable truth, Distillator, oops, Cryptosis have decided to change sides. It's a pity they didn't fall into the nearest Dutch gracht when they moved to the other bank. The cold water might have brought them to their senses. Statements like “we were a little bit bored with the typical thrash metal genre and the boundaries that come with it” are simply hard to understand. Thus, I was willing to give their shitty egghead album a rating of less than 50%. No discussion about that! But, irony of fate, neither did they change their style drastically nor am I able to ignore my enthusiasm for Bionic Swarm. Okay, there are some “intellectual” trace elements like the artwork. What the hell does the guy with the oversized Pippi Longstocking wig wants to tell us? But I want to be honest. If someone would have sold me this work as the new Distillator album, I would have been satisfied. Let’s neglect the non-essential intro and the intermezzo on the sixth position and concentrate on the regular tracks.

'Decypher' is a total failure – but only if it wants to demonstrate the new progressiveness of the trio. Vice versa, this means nothing else but that we are receiving a pretty straight, fast and razor-sharp killer that holds a lot of Distillator in it. But okay, this was the first published song after they had changed their name. 'Prospect Of Immortality' marked the next output they released under the new banner. It’s slower, ominous and presents more breaks, not least due to its playtime of more than six minutes. Nevertheless, the song is always comprehensible and in particular its instrumental part – which starts after roughly two and a half minutes – surprises with wonderful yet apocalyptic harmonies. Although this tune has a kind of technical (sci-fi) note, it also still reflects a connection to Distillator’s second album; remember “King of Kings”. However, maybe the third single after the renaming made them sail to new shores? The answer is no. Speed demons have again taken possession of the band and the number fascinates with another dose of cutting, slicing and piercing riffs and lines. Not to mention the solo. There is so much of their former approach in this smasher… maybe I should not speak of a Cryptosis song, but of a Cryptillator track. Anyway, even the fourth single 'Death Technology' is an attack of merciless cruelty – the bulky riffs at the beginning point into the direction of progressive thrash, but they do not characterise this outbreak of unbridled ferocity. In short, it remains a mystery to me why they changed their name.

Okay, it’s natural that the expressive, passionate vocals remind us of the old numbers (even though the high-pitched screams do not occur again). Nevertheless, to me it is obvious that the guys from Enschede did not cut their roots completely. Maybe this act of emancipation from the own past will follow (and lower the quality of further works). But this is not my topic today. I just can say that brutal yet large-format songs like 'Conjuring The Egoist' break through the barricades with a maximum of power. Perhaps these dudes are just too competent to compose faceless pieces, even if they stumble in a kind of premature midlife crises through the wrong genre? But up to now, they still stand with one foot firmly on the hallowed ground of razorblade thrash. Indeed, 'Mindscape' adds a little symphonic touch, but even this element does not hurt the mercilessly sharpness of the composition. Frankly speaking, I was in (more and more desperate) search of a filler, but I did not find one. I regret that Bionic Swarm does not possess this completely insane intensity of Distillator’s contribution to the split with Space Chaser, but it is also light years away from delivering lukewarm or slack material. Therefore I have no reason to grumble. Moreover, I am happy that the production is perfect from my point of view: clear, direct, with a lot of pressure. I wonder if it lacks coldness, because a lot of technical thrashers want to illustrate their mechanized music by this trait. Cryptosis is different, and that’s a good thing.

Lyric-wise, the dudes were already in their former life interested in “typical technical thrash topics”. Titles like 'Mechanized Existence', 'Algorithmic Citizenship' or 'Swarm Intelligence' (most furious Dutch thrash song of all times?) proved evidence. Bionic Swarm seems to be linked especially with the song from the split with Space Chaser. Swarms everywhere! Too bad that I am still a stupid individual, but I digress. The full-length concludes with 'Flux Divergence'. I have no idea what this is (as mentioned before: stupid individual called Felix 1666). Anyway, the song puts the focus on uncompromising velocity again. Not very progressive, but great. Thus, I do not know whether the band wants to get applause from my (old school thrash is king) side. But I can't write a bad review for this “debut”. If I did, I would have to immediately change my name to Liar 1666. And honestly, I'm sick of name changes in relation to these three very capable Dutchmen.

Rating: 9 out of 10

Review by Michael on February 21, 2021.

I find a lot of new thrash metal bands on the market quite ambivalent to unbelievably overrated, (to put it in friendly words) but the debut album Bionic Swarm from the Dutch band Cryptosis, which will be released at the end of March comes across pretty convincingly over large parts.

Let's start with the cover. It's quite sci-fi like and I personally think it's quite well done but I also like science fiction.
Musically, according to the press information, the band is for fans of Coroner and Demolition Hammer. I can't really understand that now, because I find that the band has a stylistic quite similarity with Vektor, only that Cryptosis are not quite as challenging, but do a kind of technical thrash that you can get into, how shall I say, more relaxed. This is not to say that the band makes undemanding music, the songs are very lovingly composed and know how to grab the listener from the very beginning.

The tracks are sometimes quite intricate structures and one is always amazed at the twist and turns that come there. What also makes the songs quite interesting are the keyboard parts, which are used again and again subliminally (Nocturnus (A.D.) send their regards). In the slower tracks like 'Prospect of Immortality' there are similarities to slower Napalm Death songs, but slow tracks are rather scarce on the album. The band is almost constantly stepping on the gas pedal and lumbering through their cosmos. In any case, one always discovers new stylistic elements when listening to the album several times so I have the impression that not only the above-mentioned bands, but also thrash bands like Exodus, classics like Iron Maiden and also black metal (listen to the riffing on 'Mindscape' more closely) have had influences on the songwriting of the band.

Standout tracks on the album are 'Death Technology', which is pretty catchy and cool in terms of riffing and showcases the band's technical prowess, 'Transcendence' is an incredibly fast, technical track with atmospheric keyboard backing and 'Game of Souls' is a very diverse song that again showcases the band's technical prowess. However, there are also passages in the songs that seem a bit uninspired and unstructured (for example in 'Prospect of Immortality' or 'Mindscape'), but over long stretches the band can convince at least me.

Since I already mentioned Vektor as an influence several times, it's not surprising that the band will go on tour together with them (it's announced for Europe in May at least). I'm curious if that will work out. I would be happy to see the guys live. So if you like technical thrash, you should not miss the debut of the Dutch, you will not be disappointed!

Rating: 8.2 out of 10

Review by Alex on November 20, 2019.

Crest of Darkness has come a very long way since their conception in 1993. Frontman Ingar Amlien has been the force energizing the glistening emblem through the eras of black metal. Amassing 8 albums and 2 EPs sharing the damned sights, Crest of Darkness has been ever loyal to the genre and in return has garnered the respect of many worldwide. Though buried within the fat of a growing mainstream medium, the band has found fortune and prosperity by way of their traditionalist approach though stepping slightly out of the 1st wave black metal circle by adding the widely phrased term EBM. The rusted sword of the old guard has longed for the moist and scent of red iron; now revisiting the anvil of cursed enchantments, the Norwegian blade is once again active, unsheathed and positioned to strike at the jugular. Dreams, visions, nightmares, call them what you may, Crest of Darkness' sonic frequency awakens the slumbering penial to experience both pleasure and pain within their blood-stained domain.

Over the years Crest of Darkness' sound has been primarily raw even while having incorporated keyboard synth and female vocals on some installments. Those aspects of a band far past maturity to approaching eldritch stature, proved to be key ingredients that acted in conjunction with their base musicianship. Thinking back to The Ogress, Evil Knows Evil, Project Regeneration and Sinister Scenario, Ingar and his coven sought out and were successful in mixing the auras of predominantly 1st wave black metal with its 2nd wave form, rock, symphonic Gothic metal and aggro-tech (to a degree). The result of this however did not negatively affect the music Crest of Darkness made, though heavily lamented the absence or diluting of these cornerstones would be; in opposition, the sound of the band whilst taking on a less glossy, epic and multilayered approach not only opened the members to more critique but remained acceptable by their supporters. The decision to take this step could have proven detrimental to Crest of Darkness' identity but having Ingar as the lead whilst being aided by extraordinary musicians saw them dodge the blade of excoriation. Granular remnants of their earlier days can still be traced within the band's current formation, thus showing some considerate measures to not completely abandon the loyal listener and more so, their selfhood.

In an interview/blog, I recall Ingar stating the sound on The God of Flesh would be raw and reminiscent of a live performance and such is the case. Evil knows Evil comes to mind during analysis of all fronts, hence one might be led into believing The God of Flesh is a throwback to Crest of Darkness' early past, but not entirely. It becomes apparent with the introduction of the title track 'The God of Flesh'; that bassy, rich production value is nonexistent as on later installments; in turn opted for primal, sharp, treble-heavy waves. The guitars take up dominant roles as one would expect given such an un-garnished approach; loaded with phenomenal leads and solos, Rebo anchors the music at coordinates synonymous with accomplishment. His guitar work and tuning evoke Give Us the Power to Do Your Evil, while his playing being picturesque in portraying a barren land or desert aura returns. His methods are diverse too; 'Endless Night' (which by the way has the most melancholic segment I have ever heard on a Crest of Darkness record), uses multiple tones, tempo changes and techniques all folded into one composite structure offer gratifying and favorable strung together sections. In addition to Rebo's veteran solo work on the album, there's a phenomenal bridge to 2nd wave black metal that steals the spotlight on the 'Endless Night'. Still there's technical robust in his playing as he's able to squeeze out intricacies before during and after transitions. 'The Child With No Head', 'The Spawn of Seth', 'Euthanasia' and 'Godless Evil Eyes' features Rebo's best work on The God of Flesh as I see it, in turn reinforcing how strong the band still is even as primarily a 3 piece.

Ingar does a great service to his audience through his bass work that has always been lauded as being among the fastest, most precise and best in the industry. It does not have the same register in the mix as on prior albums, still there is audibility sufficient to enjoy and examine (for the technically inquisitive). However, when I first discovered Crest of Darkness it was Ingar Amlien's vocals that drew me in. His aggrotech style of delivery fused with the black metal rasps and screams gave the band a sound of their own and served as good measure in representing his fandom of vampirism. Seemingly impressive and valuable to the existence of the band lies with his vocal sustainability. Throughout usage on albums, they have not appeared to dwindle or lose its impact, I would even argue Ingar's voice on The God of Flesh sounds just as good as on Project Regeneration and Give us the Power to Do your Evil. Ingar's vocals are able to convey his draconian and enigmatic visions suggested by the song titles. As on the topic, I don't know why he explained the lyrical content of the songs through a video posted prior to the album's release, he was even descriptive of his discomfort in doing so as he prefers the listener to manufacture their own interpretations. It may have been a request by the label, I would have preferred that not to happen. Either way nothing is lost through art's subjectivity.

Bernhards drumming is on par with all other aspects, again a bit less of a punch through the emphasized treble yet not enough to inundate its vibrancy. You can tell his comfort when playing in Crest of Darkness has escalated since joining the band in 2014. His transitions and pacing appear a bit more relaxed now that he has grown accustomed to the ways of the beast. 'Godless Evil Eyes' and 'Salvation in Hell' are for me the true highlight of his technicality, groove and tempo manipulation as they show how much more confident he has become in executing some of the higher challenging sections on the record which by the way I understand was recorded live thus adding to his credentials. Only his second full length record with Crest of Darkness and you can tell of his conviction; a much welcome and deserving drummer he is.

The God of Flesh flows well, no stagnation occurs, much of which is attributed to the knowledge and chemistry shared within the small unit. However, by adding the delicate keyboarding touch of Kristian Wentzel, the music runs like a fountain or stream of serenity. They're not heavily accentuated within the recordings as I would have preferred but through their underlying locale, the songs emit a sense of lucidity therefore making the music easy to follow. 'Euthanasia' and 'The Spawn of Seth' are the pieces most telling of this as the synth introduced provide an imaginary runway of sorts facilitating the poised sway of other instruments. Fabulous work by Kristian, hence I hope he is given a dominant role for future releases.

The God of Flesh is traditional to a degree, but still is able to encompass most aspects of a 26-year-old Crest of Darkness. Even with the absence of some female backing vocals preferably those of Kristin Fjellseth, there is still much the band offers on their milestone of an album and Ingar's tormented visions.

Rating: 8.9 out of 10