It meets the standard by marking its territory with competent songs despite not exactly going anywhere with them. Hypocrisy pursued an identity that's not easily replicated, and Into The Abyss does little to uphold that. That thickness is buttery, and the loudness it furnished further thanks to the clanking pounds and blasts of the drums. All of them are coated with Hedlund's solid, blubbery bass lines. Others like "Unleash The Beast" retain cryptic tones with its grimy, catchy riffing. These melodic death stampedes like "Blinded" and "Digital Prophecy" take the lost, arcane Gothenburg passion and resurrect it.
Either type they go for, Hypocrisy doesn't forget to entertain. Into The Abyss continues this, but it tends to lose focus on what it wants to be when it flows from hard-hitters to Tägtgren's wistful songs.ĭespite this issue of concentration and flow, what Hypocrisy doesn't fail to nail are good songs. Until now, Hypocrisy's melodic death albums have been quite varied between the riff frenzied tracks and the sorrowful ones. The use of measured, Asphyx-like doom makes the aforementioned songs melancholic and a step above the rest of the album's gunning pace. Songs like "Fire In The Sky," "Unfold The Sorrow," and the closer are the ones that could fit the most on the brooding self-titled album preceding this. Everything's super crisp, particularly with that recognizable Abyss Studio guitar tone blaring riffs designed to crush or emit the band's distinctive, ambitious leads.
The bite of these screams are matched by the digitized production job.
His spiteful, acidic screams are the common style. It opts for potent-yet-unimposing songs that stick to Hypocrisy's standard of well-played, catchy, and sonically-produced melodeath. Into The Abyss is here to end that streak.
Hypocrisy's coarse, professional melodic death brand benefited from experimentation and evocative atmosphere during the mid / late '90s. Maintaining the standard is a sure way to appease and to displease.
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