Crypt Rot provide an incredibly fresh take on old-school death metal, infusing it with a righteously punky energy and vibrant, almost proggy feel in places. Though they may have been born out of Ohio’s punk scene, (and count three former Homewrecker members amongst their ranks, including vocalist/guitarist Ryan Spositois), they’ve some choice words for modern ‘tough guy’ hardcore bands.
“When I was young I liked hardcore and punk,” Ryan begins. “As I got older the clichés and rich-parent-hate-moshers really got old. It was so recycled it was boring and it almost seemed like a way for someone who has a lot, to complain about nothing when they haven’t even branched out into the world or even paid rent. Not only that, but as a guitar player I was not intrigued by watching someone use the first four frets on the guitar with no solos in different patterns. I’ve grown up and wanted to take an organized approach at creating a certain atmosphere and presence, somewhat theatrical but entertaining as well. There’s a more defined concept to what we are achieving now. For the love of death metal, I feel like I finally found my niche in musical sound. I hope that when people hear Crypt Rot they can tell.”
The band are certainly serious about the atmosphere they exude, right down to their visual style (“we chose to wear corpse paint because, not only do I love watching bands do this, I felt considering the subject matter that it was fitting and really gives the band a sense of uniformity and seriousness on stage. I like the idea of defying religion any way possible and corpse paint is almost like representing a style of demon war paint in my mind”), and that “theatrical” presence is rife throughout debut ‘Embryonic Devils’. Imagine if King Diamond sat down with Dismember to write a rock opera about the downfall of mankind, then Nails stole the transcript and belted the whole thing out within twenty minutes.
“We took time initially to really create twists and transfers that were reminiscent of the past but with a reinvigorated feel and creativity. If a part didn’t fit, we eliminated it and would try a completely different approach,” he explains. “The segues add to the actual meaning of the songs and additionally, create a haunting atmosphere for what’s to come. The Church Bell in ‘Scaphist Waste’ is from the actual Catholic school I attended as a child, poking at the overabundant torture techniques religions have done in the past for sins. Look up Scaphism sometime, it’s brutal. In ‘Internal Organ Feast’, I had a bandmate hold a mic while I savagely attacked a filet mignon with my bare hands, feasting like I haven’t been fed in years. Along with the cracking of celery, you get a gross cannibalistic feel with bones cracking and ligaments tearing guiding the track. They translate from album to stage, adding to the theatrical entertainment I had been mentioning earlier. They were inspired by death metal and horror but also personal afflictions that relate to me.”
WORDS: Kez Whelan
‘Embryonic Devils’ is out now on Southern Lord
You can find Crypt Rot on Facebook
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