Technical Death Metal / Deathcore • Canada — the ultimate metal music online community, from the creators of
Originating from the Montreal area, this group first appeared in 1992, when it was called Necrosis; in the same year it was reincarnated under the name of Cryptopsy. With just a demo called Ungentle Exhumation and then the album Blasphemy Made Flesh (1994), the group acquired a solid reputation on the international scene. Their release of None So Vile in 1996 was the first burst of brilliance in their career. From that point the group clearly outclassed other groups by reinventing the style, today categorized as extreme music. Their album None So Vile will always be considered a death metal classic.

In 1997, the addition of the vocalist Michael DiSalvo replacing Lord Worm added a very intense front man to the group and also willy nelson being added in as the keyboard player added some much needed intensity. After a remarkable performance at the Milwaukee MetalFest, the band received a
Thanks to UMUR, bartosso, Wilytank, TheHeavyMetalCat, tupan for the updates

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CRYPTOPSY Discography

CRYPTOPSY albums / top albums

CRYPTOPSY Blasphemy Made Flesh album cover 3.89 | 21 ratings
Blasphemy Made Flesh
Technical Death Metal 1994
CRYPTOPSY None So Vile album cover 4.37 | 32 ratings
None So Vile
Technical Death Metal 1996
CRYPTOPSY Whisper Supremacy album cover 3.86 | 11 ratings
Whisper Supremacy
Technical Death Metal 1998
CRYPTOPSY And Then You'll Beg album cover 3.60 | 10 ratings
And Then You'll Beg
Technical Death Metal 2000
CRYPTOPSY Once Was Not album cover 3.52 | 14 ratings
Once Was Not
Technical Death Metal 2005
CRYPTOPSY The Unspoken King album cover 1.69 | 8 ratings
The Unspoken King
Deathcore 2008
CRYPTOPSY Cryptopsy album cover 3.54 | 9 ratings
Technical Death Metal 2012

CRYPTOPSY EPs & splits

CRYPTOPSY The Book of Suffering (Tome 1) album cover 4.00 | 3 ratings
The Book of Suffering (Tome 1)
Technical Death Metal 2015
CRYPTOPSY The Book of Suffering - Tome II album cover 4.50 | 1 ratings
The Book of Suffering - Tome II
Technical Death Metal 2018

CRYPTOPSY live albums

CRYPTOPSY None So Live album cover 4.75 | 2 ratings
None So Live
Technical Death Metal 2003

CRYPTOPSY demos, promos, fans club and other releases (no bootlegs)

CRYPTOPSY Ungentle Exhumation album cover 0.00 | 0 ratings
Ungentle Exhumation
Technical Death Metal 1993
CRYPTOPSY Once Was Not (Two song sampler) album cover 0.00 | 0 ratings
Once Was Not (Two song sampler)
Technical Death Metal 2005

CRYPTOPSY re-issues & compilations

CRYPTOPSY The Best Of Us Bleed album cover 4.00 | 1 ratings
The Best Of Us Bleed
Technical Death Metal 2012

CRYPTOPSY singles (0)

CRYPTOPSY movies (DVD, Blu-Ray or VHS)

.. Album Cover
0.00 | 0 ratings
Trois-Rivières Metalfest IV
Technical Death Metal 2005


CRYPTOPSY Blasphemy Made Flesh

Album · 1994 · Technical Death Metal
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siLLy puPPy
With a debut album that appeared in 1994, it may seem that CRYPTOSY came late to the death metal party but this early pioneer of old school death metal which emerged from Montreal, Quebec actually started out as early as 1988. In April of that year drummer Mike Atkin, guitarist Steve Thibault and vocalist Dan Greening better known as Lord Worm formed a band called Obsessive Compulsive Disorder but quickly decided that the moniker was not metal enough and switched to the more suitable Necrosis. Bassist John Todd then joined and then like any good death metal band, released a bunch of demos and went through turbulent changes. Around 1993 Kevin Weagle joined on bass to release the demo “Ungentle Exhumation” ended up on Gore Records and then caught the attention of the German label Invasion Records.

Invasion Records folded due to financial difficulties and the big shakeup occurred. Weagle was replaced by Martin Fergusson, Atkin was replaced by drummer Flo Mounier and and lead guitarist John Levasseur also jumped on board. This left guitarist Steve Thibault and vocalist Lord Worm as the only founding members and the lineup that recorded the band’s debut full-length release BLASPHEMY MADE FLESH, the only album with this lineup as Fergusson would leave after the tour and become replaced by Eric Langlois who would define the classic CRYPTOSY sound. A lot had changed in the world of death metal since the Obsessive Compulsive Disorder days. Death metal started out as a more brutal form of thrash metal with more depraved vocals but by 1994 when this album debuted the style had seen the advent of the extreme brutality ushered in by Suffocation as well as a new form of technical wizardry pioneered by later Death releases, Atheist and Cynic. CRYPTOSY adopted both aspects.

BLASPHEMY MADE FLESH in many ways is simply a more spruced up take on early death metal and in the process debuted at a time when the death metal scene was starting to go stale. While CRYPTOSY checked off all the death metal attributes such as heavy down-tuned guitar riffs at a million miles per second, incessant percussive mania from Mounier and the depraved guttural growls of Lord Worm, the band had obviously paid attention to what was going on in the death metal underground. While not so technical sounding compared to modern standards, CRYPTOSY took the old school death metal chugs, added a few Morbid Angel squeals and created an even more labyrinthine parade of caustic distortion fueled rampages that ranged from spot on tightness with the instrumental interplay to more sloppy segments of raw lo-fi ferocity. Album number one was made on a budget and the production as a result is quite primitive but given the ugly bestial nature of this album, it actually works quite well IMHO.

What’s unique for BLASPHEMY and an annoyance for some is the excessive use of snare drums for a percussive beat however personally it doesn’t bother me so much. While incessant, even dissonant metal rage is the norm, there is an underlying melodic flow to the compositions which are only exposed as the veil thins such as at the beginning of “Serial Messiah” which begins with a short keyboard run as well as the wailing guitar solos that sporadically pop up offering neoclassical wankery in melancholic minor-key melodies most pronounced on the album’s closer “Pathological Frolic” which would be a major influence on future artists like Necrophagist. Also interesting is how this album sounds a few years older than it is as the chugging riffs often sound like peak era Pantera on album’s like “Cowboys From Hell” with that groove metal swagger. Possibly due to the build up of material.

All in all, i find BLASPHEMY MADE FLESH to be quite the competent debut album with an incessant primeval rawness that made early death metal so fucking cool. The tracks zigzag around like a flaming colony of lemmings jumping over the cliff and into the sea and its not too difficult to hear why Mounier is considered one of the fastest drummers of the era as his frenetic percussive bombast is the backbone for the intense rhythmic drive which the guitars and bass are merely under his gravitational pull. While CRYPTOSY would continue on and see more changes with more polished albums, this one stands tall and proud as the fierce DIY project that generated a wealth of catchy cool death metal tracks straddling the old school by then traditions and pioneering the brave new world of tech death laced with brutality. Solid. And yeah the original freaky eye album cover is the best one!

CRYPTOPSY Blasphemy Made Flesh

Album · 1994 · Technical Death Metal
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“Blasphemy Made Flesh” is the debut album by Montreal technical death metal band, Cryptopsy. There are three versions: the original 1994 Hammerheart release, a 1997 re-release by Displeased Records, and a 2001 re-release by Century Media, which features a different cover.

This is my first experience with Cryptopsy and I was interested in the band because I had discovered that Montreal had a hot death metal scene going and I decided to check out some groups. After my usual cursory listen on YouTube, I decided to get this album first because of the frequent cropping up of the bass guitar, which reminded me of Quebec metal legends, Voivod.

The sound on my CD copy, the original Hammerheart release, is pretty poor when going from any much better-produced album. First, I have to knock the volume up three clicks, and the sound quality difference between a well-produced, more recent death metal album and this one is enormous. However, like many albums, “Blasphemy” doesn’t sound so bad once you get into the album atmosphere. Like many extreme metal bands of the day, recording quality was frequently pretty poor.

Cryptopsy’s sound is heavy, brutal, and pummeling. The guitars are really low, so much so that the bass guitar notes really pop out at times, especially when the bass gets a brief solo break (solo here meaning playing alone for a bar and not lead). What I appreciate is that the band can employ both very high speed playing and slow down for some very heavy, crushing riffs. I have also noted that Cryptopsy know how to play slow and heavy and keep the drums in tempo. Many bands I have heard recently will play medium tempo music but have the bass drums and snare going full tilt. It sounds great usually but sometimes seems unnecessary. On this album slower playing often means a slower beat. Conversely, sometimes the drums strike at a fairly slow tempo while the guitars are going nuts. These changes in speed, though, are good for appreciating the some of the riffs and guitar work.

Vocalist, Lord Worm (Dan Greening), delivers really deep, guttural barking and some mega-screams that are as frightening as a storm banshee trying to enter your room on a blustery night to wake the dead. At first I was a bit put off his vocal style because I seriously could not pick out anything he belch-roared. I looked at the lyrics for a track like “Open Face Surgery” which reads:

“I’ve learned to control my thoughts / Ever since I recognized the first eavesdropper / Those who listen in on my thoughts / My logic, my sanity”

But what I can pick out at best sounds like: “Wudaboit, biddatboit, budahboit, biidah! Weahbuot, biddahbuot, buadbuit, biidadut!” There are times when I think I can almost decipher the gruff utterances and follow along with the lyrics, but then the vocalizations stop when I’ve only reached the third line of a four-line verse. Song after song, I really have not one iota of a clue what words comprise the lyrics of these tracks. Reading the lyrics and listening to the songs I feel like the lyrics are the translations of an angry Neanderthal’s ranting. But I actually don’t mind. Listening to the whole album straight through it all becomes part of the sonic experience. A funny thing, even the spoken lines in one track aren’t easy to pick out. “Serial Messiah”, by its opening church organ notes and a meekly speaking youth uttering, “Get off me you bastard”, would seem to be about Catholic priests who prey upon young boys. But we hear hurried footsteps, a door open, and the youth’s attempt at defiance, and then this is followed by a deep voice saying what sounds like “I need gas for the lawn!” Or maybe it’s “I need ask for the Lord”. I am totally unsure. But again, I consider the vocals part of the entertainment factor so I’m okay with them.

The only real complaint I have is that the snare drum is mixed quite loud compared to the much lower-toned guitars and so sometimes it seems the dominant sound in the mix is the high-speed snare drum playing which leaves the guitars just deep rumbles barely discernable above the percussion and demonic barking.

I’m curious about some of the band’s more recent albums. This first offering has its strengths, mostly in the actual music played, but the production needs improvement. Not a total winner but good enough to merit further investigation into this band.


Album · 1996 · Technical Death Metal
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They do that rather well, don’t you think?

I often ponder the appeal of extreme music, be it death metal, avant-garde jazz or modern classical, and I always end up with the same conclusion, no matter how hard I try to come up with something fancy. Extreme music is kind of like bungee jumping. It’s an exercise in going beyond what's safe, what's considered correct. Besides being an artistic experience, it's also about reaching beyond the comfort zone, challenging your limits and having fun in the process. I believe this is exactly why it all boils down to grit; no matter how technically proficient you are, how good a songwriter you are, it’s all for naught if you have no spirit, no balls. And fuck me if these Canadian bastards are not amongst the craziest on the planet.

By today’s standards, None So Vile may not seem as brutal as some of the records spawned every ten seconds by the modern extreme metal scene. Sound production has obviously evolved considerably since the 90s and that’s why many classic death metal albums have lost their edge. Not this one, though, or at least not in a way that would make it unappealing to the contemporary audience. I was talking about balls before. They’re made of metal, remember? Dusty and somewhat rusty but timeless, still rocking. The point is that None So Vile is not only brutal on the outside, it’s actually boiling with aggressive, fearless creativity at its very core. The album, and to some extent its predecessor, is a seamless, unprecedented blend of technical death metal, grindcore and classical music. While not overtly experimental, the beast got some bon-vivant swagger without having its claws trimmed down. The resulting record is both deadly and playful - It’s toying with you before ripping your head off.

I might have been too young to remember this, but back in 1996 this album rocked the underground boat big time. It was filthy, provocative and uncompromising but at the same time cleverly arranged and well written. Even if I dig Cryptopsy’s experimental and jazzy Once Was Not a bit more, this album is a death metal classic and it aged incredibly well.


Album · 1996 · Technical Death Metal
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A cataclysmically brutal album, Cryptopsy's None So Vile uses all the band's technicality to combine the sickest and most extreme elements of death metal and grindcore into a seamless union. Mercifully brief at half an hour, the album simply doesn't let up, with occasional breakdowns keeping things varied enough to save the album from becoming monotonous whilst at the same time maintaining the terrifyingly high level of intensity throughout. Lord Wind, in particular, sounds like an absolute beast here, and his fellow musicians must be sheer geniuses to be able to bring to bear the level of technical excellence they accomplish whilst at the same time issuing forth such a furiously unrestrained blast of brutality.

CRYPTOPSY The Book of Suffering (Tome 1)

EP · 2015 · Technical Death Metal
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"The Book of Suffering (Tome 1)" is an EP release by Canadian death metal act Cryptopsy. The EP was independently released in October 2015. Cryptopsy divided their fanbase with the release of "The Unspoken King (2008)", which many fans felt was too much in deathcore territory, but returned to a more familiar technical death metal sound on "Cryptopsy" from 2012 (although that album too features some non traditional parts like the odd jazzy sections, which was a new element at the time). "The Book of Suffering (Tome 1)" is the first new original material since the self-titled release...

...and this is probably the release the old fans of Cryptopsy have been waiting for, because the band have taken a step back to their roots on the 4 track, 16:51 minutes long EP. Matt McGachy is still a more "core" tinged death metal vocalist than what some old school death metal fans might be able to accept (yeah there is the odd piggy squeal and screaming hardcore vocal section here and there), but his performance here is the closests he has yet come to sounding "old school" growling. The vocals are generally both raw, powerful, and commanding. To my ears it´s a solid performance by McGachy. It´s the instrumental part of the music that takes the prize though. It may initially sound chaotic and confusing, but listen a bit more closely and you´ll be rewarded with some incredible technical playing and interesting song structures. In other words it´s structured chaos played by very skilled musicians. The music is predominanty delivered in a frenetic fast-paced fashion, but there are heavier groove laden sections featured on the EP too.

Drummer Flo Mounier as always deserves a speciel mention for his inventive and crazy fast technical drumming. He truly is one of the most prolific and adventurous extreme metal drummers out there and proves it once again on "The Book of Suffering (Tome 1)". The guitars and bass also play riffs and notes that are technically of another world, and it´s almost impossible not to be blown away by the intensity and virtuosic skill of the performances.

"The Book of Suffering (Tome 1)" features a powerful, raw, and well sounding production too, and upon conclusion it´s another high quality release by Cryptopsy. It´ll be interesting to see if this is the first step to reconquering the throne or if it´s just a temporary meassure to nurse the old fans before they completely abandon ship. A 4 star (80%) rating is deserved.

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