With twenty-three years in the business and now twelve full-length records to their name, you’d think that Swedish death metal outfit Hypocrisy will be pondering calling it a day. Fortunately, they haven’t, they have instead released their twelfth record, ‘End Of Disclosure’, and with it have reminded us why they’ve lasted over two decades in music.
Ushering onto the scene with their notorious atmospheric electronics, followed by thunderous drums, the title-track welcomes the listener to yet another Hypocrisy assault. With what sets out to be arguably the album’s strongest set of tracks, the opening five songs nail down what, in hindsight, becomes of the record as a whole, Hypocrisy at their best but also at their less diverse.
With an abundance of quality in musicianship on the record, it’s difficult to argue against Hypocrisy for incorporating a notion of not fixing what isn’t broken. Citing such notable quality as established and hard hitting guitar work in tracks such as ’44 Double Zero’, ‘The Eye’ and ‘Soldier Of Fortune’, as well as laudable, consistent and undoubtedly impressive vocals from Peter Tagtgren, it’s difficult to find an argument against such ability in numbers. However, such ability comes with promise; surely a band of Hypocrisy‘s calibre could conjure up something less frustratingly familiar? Possibly, but, again, why fix something that isn’t broken?
Aside from the argument that we have heard this before from Hypocrisy, there isn’t a poor track to pick out of ‘End Of Disclosure’. The band offers what is, in essence, a solid body of work. Each track is produced well, lyrically relevant to Hypocrisy‘s style and doesn’t collapse the record through offering something radical in comparison to the track it is follows. Track to track, the record offers familiarity yet comfortable leisure listening. Searching for a relatively poor track would only emphasise a grossly expression of pedanticism.
Hypocrisy, in the end, offer nothing radical, and why should they? After so many years establishing themselves in the death metal community, it doesn’t come across as an outrage nor surprising that the band decided to incorporate a notion of consistency in their work. From the forever shifting melodic to explosive guitar work, the beautifully barbaric vocals, to the excessively atmospheric electronics, ‘End Of Disclosure’ perhaps won’t overwhelm listeners with the evolution of death metal. But, it will leave them with a solid body of work from one of death metals most cherished, most celebrated and, admittedly, most consistent band.
Written by Calv Robinson
Founder & Editor for DEAD PRESS! | Atheist and antitheist. | Judge of the quick & the dead since 1989.