Sometimes when a band pulls a Monty Python and does something completely different, it works out for the better and gives their sound a whole new dimension. Other times, it’s a lateral shift towards a whole new sound that doesn’t improve upon nor degenerate; it’s just different. Other occasions, it’s a shocking step backward that makes no logical sense. When it comes to Lithuania-based death metal merchants Crypts of Despair, if familiar with their body of work, one could take their ultimate output as any mixture of these three outlined scenarios, depending on one’s leanings and whatnot. One thing is absolute – their third full-length We Belong in the Grave isn’t anything these ears expected.
The band’s 2021 album All Light Swallowed is a murky, gritty slab of crushing death metal that gives one some Grave Miasma meets Krypts in a dark alley vibe. A promising release that reeked of creative potential. Much to our surprise, when we put on We Belong in the Grave, the death/doomy assault that may have been expected wasn’t very present; instead replaced by a shift into a more modern death metal/deathcore hybrid. Yes, that’s quite the tonal swerve. No, I don’t view deathcore as a dirty word as many weirdly have and do. True that we’re no fan of the Lorna Shore’s of the world, but I defy one to give the latest Whitechapel or Fit For an Autopsy a few spins and not find some monstrously heavy, unrelenting stuff that scratches an itch. Humanity’s Last Breath is a personal favorite. We could go on, but point being, we’re not averse to this style, so we enter with an open mind.
What We Belong in the Grave gives us is a slicker atmosphere, bathed in electronic atmospheres, downtuned riffage, and a direct, chugging affront. To say that there isn’t a whole lot that stands out to grab your attention may be true, sadly, but there’s also much to like. “Terminal Dias” includes some explosive, energetic moments – the middle of the track adds a degree of tension – and is an overall ripping track with a few notable, catchy leads. “Expulsion to Purgatory” shows glimpses of the muddier, more frightening sound that went mostly missing, combined with the more modernized aesthetic, giving a best of both worlds that’s the standout offering for these ears.
On the other side, “Obliteration of the Unpure” stomps forth with a simplistic stomp via gobs of slower crunch and meaty slams. It has moments, no doubt, but doesn’t leave a lasting impression upon your face that we so desired. The first salvo and title track is a speedy, heavy as hell affair, but leaves more confusion than thirst for more. Tracks such as “Precipitous” are relatively predictable in structure, whilst “Gaze of the Adversary” embraces one too many tropes for these ears to fully embrace.
Throw out every single thing you know about Crypts of Despair when diving into We Belong in the Grave. It’s possible that those who haven’t listened to their previous work may have a different overall experience than we did, and truth be told, there’s nothing offensive on this record. I find myself coming back to a few choice tracks, and it isn’t a bad album by any stretch – but it isn’t overly memorable, and it’s sonically jarring to the initiated. There’s plenty that this scribe enjoyed, and even the bits we’re most critical of have some redeeming qualities, but we’d be lying if we said this didn’t feel like a sideways leap in a somewhat puzzling direction – especially in the songwriting department. Kudos to the band for following the path they wanted by taking plenty of stylistic chances, and if an obscenely heavy, straight to the point take on the deathcore style sounds interesting, what Crypts of Despair are serving may serve your palette nicely. If you’re looking for a bit more nuance to sink your teeth into, your mileage may vary.