Crypta: Echoes Of The Soul-2021.

Crypta:Death Thrash Metal from Brazil/Netherlands.


Echoes of the SoulFull-length2021
Luana Dametto
Drums (2019-present)
See also: Chaos Rising, ex-Apophizys, ex-Nervosa
Tainá Bergamaschi
Guitars (2019-present)
See also: ex-Hagbard
Sonia Anubis
Guitars (2019-present)
See also: Cobra SpellUrsinneAsagraum (live), ex-Burning Witches, ex-Ecocide, ex-Jackal, ex-Sepiroth, ex-Shade of Hatred, ex-Deamension
Fernanda Lira
Vocals, Bass (2019-present)
See also: ex-Detonator, ex-HellArise, ex-Nervosa, ex-Hellgard
1.Awakening00:56  instrumental
2.Starvation04:16  Show lyrics
3.Possessed03:46  Show lyrics
4.Death Arcana04:44  Show lyrics
5.Shadow Within04:48  Show lyrics
6.Under the Black Wings03:42  Show lyrics
7.Kali04:33  Show lyrics
8.Blood Stained Heritage04:37  Show lyrics
9.Dark Night of the Soul05:13  Show lyrics
10.From the Ashes05:11  Show lyrics

One thought on “Crypta: Echoes Of The Soul-2021.

  1. hells_unicorn, June 17th, 2021
    Written based on this version: 2021, CD, Napalm Records

    With the ongoing thrash metal revival still going strong and its uglier old school death metal cousin also making a respectable splash in the 2010s, it might seem inevitable that some individual contributors of one might see fit to cross the divide, particularly those on the more extreme fringes of the former. Following the lineup revamp of Brazil’s Nervosa, arguably the most extreme thrash outfit to come out of said nation while featuring an all female membership, this is exactly what came to pass with said band’s mad-raving front woman and bassist Fernanda Lira and her drummer compatriot Luana Dametto jumping ship to form a new, even darker union with former Burning Witches shredder Sonia Anubis and relative newcomer guitarist Taina Bergamaschi. The rugged, old school death metal powerhouse of a result that is Crypta is thus a new player on the stage, yet arguably also coming to the table with all the makings of a supergroup minus all of the downsides that go along with it.

    At first glance, the raging fury of dissonant notes and bone-crushing riffs that is this outfit’s debut showing Echoes Of The Soul appears to be an amped up version of Nervosa’s extreme thrashing approach. However, the degree of sheer aggression surpasses the outermost fringes of Sodom’s Tapping The Vein and Demolition Hammer’s Epidemic Of Violence, landing in territory more comparable to the seminal offerings of Vader, intermingled with some obvious early Sepultura influences that were also to be found in Nervosa’s first few albums. To be clear, the riffing approach is of a more thrashing character, having more to do with Seven Churches and Leprosy than Butchered At Birth or Blessed Are The Sick. Arguably the biggest indicator of a purely death metal pedigree here is Lira’s far more guttural and intense vocal display, though the frequent employment use of blinding tremolo riffs and semi-frequent blast beats also play a key part in moving this away from a mid-80s extreme thrash sound a la Dark Angel or Slayer.

    Barring a few moments of dreary atmospheric touches here and there, which also serve to solidify this album’s authenticity of style, the formula at play here is as straightforward of an auditory knife to the skull as one would hope for in this style. The uncompromising brutality sessions that are “Starvation”, “Bloodstained Heritage” and “From The Ashes” are made to order for those who want it fast and ferocious. A degree of technical nuance is brought into the equation at times that mirrors some of the strides made by Death on Spiritual Healing, primarily in the lead guitar department of the introductions of noted raging anthems as “Possessed”, “Shadow Within” and “Death Arcana”, while the wild shred fest that kicks off “Kali” following a pummeling drum intro has some pretty clear Hoffmann brothers touches. But probably the most intriguing outing is “Dark Night Of The Soul”, which almost sounds like a partial homage to Nile in the way it incorporates Egyptian musical ideas in both the atmospheric intro and outro as well as the metallic moments.

    While the latest studio release is often the best one according to the artists involved in its creation, a sentiment generally echoed by their core audience, this isn’t necessarily better than what Lira and Dametto accomplished with Nervosa, though it is definitely different. In some ways it comes off as more varied in demeanor, which may well be a product of Anubis’ background in more mainline forms of metal, but in others it seems a tad bit more rooted in the same traditional structures that Victim Of Yourself and Downfall Of Mankind wore on their respective shirtsleeves. In the larger context of the contemporary old school death metal revivalist movement, it has a bit more of a modern bite to it when compared against the likes of Rude and Skeletal Remains, though it tends to follow the same formula in terms of songwriting. For those who want something a bit darker and more vicious than the likes of Arch Enemy, but still want it more structured and accessible than Incantation, this is a sure winner.

    Originally written for Sonic Perspectives (


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