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Music Review: Cryptopsy’s ‘An Insatiable Violence’ Is Death Metal with a Vengeance

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The Canadian crushers return with an eight-track blitz of brutality that’s lean, mean, and utterly relentless.

So, listen — I haven’t been on the Cryptopsy train as long as some of you. Truth be told, I didn’t fully appreciate their catalog until about seven years ago. But once I was in, I was in. Their 2023 release, As Gomorrah Burns, dropped while I was on a reviewing hiatus, but it still cracked my Top Albums list that year.

Now, two years later, the Death Metal Deities have returned with An Insatiable Violence, out now via Season of Mist, and let me tell you, this thing brutalizes.

Clocking in at a lean and mean 33:53, this eight-track monster gets in, gets out, and splits your skull like a hatchet to the dome. You’ll be running for the bandages like your hair’s on fire. Starting with “The Nimis Adoration” and bleeding into “Until There’s Nothing Left,” they go for broke!

“Dead Eyes Replete” and “Fools Last Acclaim” come at you swinging, bringing the hammer down with the kind of ferocity that leaves you wondering what in the H-E-double-hockey-sticks just hit you.

“The Art of Emptiness” hit instantly for me, while “Our Great Deception” took a moment to land, but fits in beautifully with its more dynamic intro. The final one-two punch of “Embrace the Nihility” and “Malicious Needs” closes things out in devastating fashion, leaving you broken, bleeding, and begging for more.

Cryptopsy doesn’t miss, and with An Insatiable Violence, they’ve done it again. Get this one in your ears, post-haste.

Standout Tracks: All of them
– THE MAESTRO

Cryptopsy | Art: Martin Lacroix/Season of Mist
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Damian Cousins
Damian Cousins
Damian "The Maestro" Cousins is an avowed lover of heavy metal and the band KISS. A die-hard Philadelphia Eagles, Pittsburgh Penguins, and Dallas Mavericks fan, you can usually find him watching games with his autistic son, Corey. He is also a 5-time Fantasy Football champion. Damian previously served as Founder and Publisher of Amps and Green Screens. He contributes music reviews to THE ROCK FATHER Magazine.

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