Hannes Grossmann
The Crypts of Sleep
(Self-Release)
German drum god Hannes Grossmann gets a mighty pass when it comes to my general distaste for solo projects, especially in the metal realm, since solo projects often feel self-indulgent and like diluted versions of the artist’s main band. Grossmann gets that benefit of the doubt in large part due to this time as chief songwriter to Obscura and Alkaloid (whose 2015 I happened to love); also, he does not run afoul of “diluted sound syndrome” at all. Plus, his second solo outing, The Crypts of Sleep, basically features all of the members of Alkaloid, plus Per Nilsson and Erik Rutan performing extra guitar solos, so the record sounds much more like a product of a unified band. Groomsman composed and produced all the music for the album, but he only performed drums, and it may come as a surprise for a drummer’s solo gig to pump out such a glorious guitar record. Grossmann’s sense of melody is really something, and it gives the flashier elements of the record more impact.
Thankfully, The Crypts of Sleep differentiates Grossmann’s style of tech-death with his Obscura and Alkaloid experience, sort of coming down in the middle. This is a surprisingly mid-paced record (at least for the style), where melody, pace, and moments of sheer, joyous speed burst out at just the right times. “Beyond the Boundaries of Death” and “Oceanborn Master” are great examples of how expertly Grossmann plays around with his style. Most songs on here flow just about perfectly, so songs always feel like they have somewhere to go; aimless wankery isn’t the name of the game here (cough, Obscura), nor is the prog so overwhelming that you get the sense that Grossmann is showing off. On the contrary, his drumming is just as excellent as ever, but like the best of his past work, it serves the purpose of the song. You get the sense that Grossmann is disinterested in taking over songs alone.
In that regard, it’s easy to forget that this is actually a solo record. If Alkaloid claimed The Crypts of Sleep were just the heavy leftovers from The Malkuth Grimoire, no one would really blink an eye. It keeps up the general upper-tier quality of that record, while aiming for a bit more (albeit relatively restrained) power and speed. Aside from a couple weak moments like the instrumental and the over-long “Hail Satan”, The Crypts of Sleep is a top-tier melodic tech-death record. While the splitting up of Obscura was a bit of a disappointment, if Grossmann, Alkaloid, and Obscura are going to keep trying to top one another, then I’m all for it.
Purchase The Crypts of Sleep here.
