Hypocrisy - End of Disclosure
While I would consider myself a fan of Hypocrisy, Catch 22 taught me that not every LP is going to be awesome. Even with that, I still feel a bit disappointed by End of Disclosure. Under normal circumstances, I’d think this was a fucking deadly album. The riffing goes from dark and melodic to face-rippingly brutal and everywhere in between. Horgh’s drumming is precision as always, Peter Tagtgren’s vocals are as corrosive as ever, and Mikael Hedlund’s bass playing holds everything together like superglue. On top of that, you have the stellar sound that you always get when Peter is involved in the recording. Add to that some Wes Benscoter artwork for the cover and you have the makings of a classic Death Metal album. Why would I be disappointed? I should be having the time of my life and making my chiropractor rich from all the damage I’m doing to my neck. I’m disappointed because End of Disclosure is essentially A Taste of Extreme Divinity Part Two. If you listen to both of these records back to back, the only hint that they’re two separate albums is the fact that the title track (“End of Disclosure”) is the first song on the newer album. Even though four years separate them, they sound so similar, in terms of style and substance, that they could have both been recorded at the same time. I still like the music, but I wanted something to stick out as different. This is what Hypocrisy does best, but I’d hoped for a little something that differentiated this record from the last. I guess the best way to look at this is to think of End of Disclosure as the second disc in a double album. If you think of A Taste of Extreme Divinity and End of Disclosure as two separate and distinct albums, you see little to no progression in Hypocrisy’s sound. If you think of them as two halves of the same album, the fact that they sound so similar doesn’t register as much.
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