While some bands sold out with there early 2010 releases (*ahem* Arsis) Syphilic keeps its core elements: relentless, complex, obscure brutality taken to disgusting measures with humorous samples taken from various media sources. Despite sticking to original roots, progression is also very present with this record. Including but not limited to: adapting new vocal styles, more electrifying guitars, and more complex song structures in general. The only other way to experience this album would be to sodomize yourself with an electrical wire. From the start the guitars sound better and more technical. But don’t worry, it’s not overly technical. There’s quite a few pinch harmonics at fast paces in the riffs that kind of give it that technical sound. There’s a much more defined sound that is far more chaotic sounding on this album. Still, the “take no prisoners” brutal death metal guitar playing style is still relevant on this album. The riffs in general are still recognizable as a prominent Syphilic release, just on the next level. The border-line signature vocal style of Brian Forgue is of course still here. However, he has seemed to have expanded his vocals a bit. There’s a vocal style that is used in various places throughout this album that almost sounds like a traditional death metal growl, or as close to it as Syphilic will probably ever get. Regardless, the obscure and brutal vocals are here in all there glory. But once again, on the next level. And what would a Syphilic release be without the samples? Possibly just another brick in the wall. This album starts off with a sample from Bad Santa, and the sample continues at the end of the album. A lot like the Lewis Black joke at the beginning and the end of Erotishock Therapy. Behind Bars uses numerous samples from It’s Always Sunny In Philadelphia. Yes, the FX original series is heard various times through out Behind Bars. These specific samples are lines from the T.V. show that discuss topics that are very relevant to this record, including: musical talent, unprotected sex, gutturals, and molestation. So in the end, it works out pretty well on this album. If you love death metal and Metallica, then (possibly) you’re dream has come true. Behind Bars ends with a cover of Metallica’s Leper Messiah. But this is a cover done right. It is immediately recognizable as Leper Messiah, but much heavier. It generally sounds almost the same but in a death metal style. If you like death metal and can handle sheer chaos, then buy Behind Bars. It doesn’t disappoint at all.