Somewhere between the lines of Death and Doom emerges, CRYPTIC BROOD, resounding in mass depressive, guttural, and pungent sounds which stretch out and delve into the deepest folds of the human consciousness, staying within your thoughts long after the music has finished. Near the close of this year they have delivered the world their sophomore album, "Outcome Of Obnoxious Science," a 38 ½ minute album consisting of some of the darkest and melancholic riffs to occupy the nexus of Doom and Death.

Starting off with, "Biting Through Flesh," the album begins with some tumultuous and syncopated riffs which should not work with one another yet somehow seem to build upon one another-which will be a recurring theme found within the rest of the album. "Harrowing Hallucinations" rings out in a truly eldritch fashion commencing solely with a guitar that is soon joined by drums and bass into an oddly paced buildup that immediately jumps into a more fast paced progression for the verse. "Wading Through Remains," contains a much more defined rhythm and beat in comparison to the other tracks on the album, though continues to follow the motif of jumping between slow and fast at the drop of a pin. "Ferocious Torment" contains a long drawn out introduction, having about itself almost a feeling of improvisation as the closing hi-hats sound timid and unrehearsed. The title track, "Outcome Of Obnoxious Science,"-apart from having a nonsensical name-follows the motifs of the band, quiet and loud, slow and fast, and polyphonic and homophonic, though the ending is noted by its increasing speed and the repeated screaming of the song's title.

Whether by design or accident the structure of the band's sound is as simple as it gets guitar, bass, drums, and vocals, no backing guitar tracks underneath the solos, no vocal harmonies, just plain, dirty, and exacting music. Each instrument's tone is as reaching as it is grizzly, sounding out in reverberations of feedback and sounding as if each amp is intentionally being bled for those guttural tones. The vocals match the motif exactly with every member of the band providing voice talent for the tracks. The separation of guitar and bass between their own channels is a very well done approach that few every attempt.

The album is a combination of odd rhythms, depressing tones, and a wealth of vocal madness sufficient of its own place in the Cthulhu mythos. The music works well together but does not have any solid foundation, the vocals are piercing but somewhat indecipherable, and overall the album appears to draw more influence from Jazz Fusion than Death and Doom. With all that being said the music and sound are still very good for what they are, which is something wholesome, unique, and entirely itself and whilst the sound may not draw a large throng of indulgent listeners those who value the work will probably find themselves to be devoted fans.