Hypocrisy
The Arrival

THE REVIEW

Peter Tagtgren is definitely a character in the realm of extreme metal; we can define him as restless, multifaceted, but the word that I believe best characterizes him is "workaholic", that is, a man who has created a form of intense psychotropic addiction through his work/employment: this insomniac maniac easily manages to juggle between running his famous "Abyss Studios", his role as a producer behind the console for major metal calibers (Dimmu Borgir, Celtic Frost, etc., etc.), as well as the father and master of Pain and, of course, our dear Hypocrisy.

A now mythological creature in the field of Swedish school death metal, whether for the long tenure or a series of albums much appreciated by the public and critics (see "Abducted", "The Fourth Dimension" and the self-titled LP), Hypocrisy decided with the previous "Catch22" to give themselves a refreshing update of ideas, an originality matrix that would allow them not to suffocate in the (excellent) routine. Thus, the album in question felt some fairly nu/metalcore American influences, let's say, Slipknot "Iowa" was first and foremost, so fierce and senseless stuff, and in fact, the album still received a strong positive response from critics (I'm not updated on sales data), who appreciated the search for originality, the attempt not to always rely on a style that is indeed winning but also overly explored and known.

So, with "The Arrival," it's completely back to basics; forget influences of any kind, here everything feels like a homecoming, Hypocrisy has awakened in their world made of somewhat melodic Swedish death metal, never fast, very groovy, even easily recognizable choruses and (if the good Tagtgren didn't have a vitriolic vocal cord) almost singable, as for example in "Dead Sky Dawning" or "New World".

In summary, we are faced with an excellent work, magnificently produced (really powerful and crystal-clear sounds) and executed, but, on the other hand, softened or if you prefer, simply an album in which the fury, anger, tension typical of the genre do not find application: only the opener (wonderful and evocative) "Born Dead Buried Alive" and "Stillborn" and the aforementioned thrashy "New World" carry with them the seed of vigor and sonic impact, which otherwise, throughout the entire LP's duration, about 40 minutes, succumbs in favor of slow and dramatic atmospheres which in any case are very pleasant, as in the single and video "Eraser" (the riff, ehmm let's say the chorus is fantastic) or in the concluding and evocative "War Within".

"The Arrival" is ultimately an album of great class, refined and engaging, but it may not take root in all those who appreciated the explosive vitality of the previous work or the overwhelming power of the subsequent "Virus": in short, a work that is quite praiseworthy for listening fluidity and pathos but perhaps a bit tentative, leaving one puzzled about the stylistic direction undertaken by Tagtgren and company.

Nevertheless, I recommend listening to it, at least to form your own opinion.