Abyssal, as I’m sure most readers are already aware, are a mysterious three-piece hailing from the UK. As I no longer inhabit the island(s) or have much of an idea of what’s going on there, their name has thus far been completely unknown to myself. It was consequently a pleasant surprise to be confronted with a new extreme metal band from the old country. ‘Denouement’ originally came out last year although for 2013 it’s getting the Hellthrasher Productions re-release treatment. From what little I could discover before listening, Abyssal plays a style of death/black/doom, repeatedly drawing comparison with acts such as Mitochondrion, Portal and Antediluvian. As, once again, I have heard nothing by any of these, I must hold up my hands and try my least worst here…
The brilliantly titled ‘The Moss Upon Our Ruins’ gives little initial indication as to Abyssal’s style, employing as it does, one of the things I don’t miss from our fine isles: bloody wind. As the music does take form, an ominous pace is set by the guitars and drums before something approaching the obscurity of early Immolation or Incantation materialises. However, Abyssal’s attack does differ greatly with much faster drumming and a real infusion of black metal which pervades the production, song writing and particularly, those caustic riffs. The prevailing ones around the four-and-a-half minute mark in the opener are worth soaking up, as are the brilliantly executed time changes which shift and contort the band’s intimidating incantations around the listener’s brain. On top of it all are the subterranean vocals which flow perfectly and uniformly into the music to create a 100% cult menace. The immediately impressive aspect – aside from expert musicianship – is the tangibly dark atmosphere which is created through brute force, utter weirdness and a captivatingly un-formulaic approach to song writing.
It’s probably better at this stage to mention a few instances highlighting Abyssal’s range than to attempt a song-by-song breakdown. All you need to remember are the key words: reeking evil. The momentary grind of abrupt riffs which inhabit ‘Deus Vult’ claw deep into the soul, while the black metal parts of the same song are simply perfect in their über crushing death context. Strange effects and indiscernible dialogue punctuate some parts of the experience, but it is often the music which is most affecting. A minute into ‘Detritivore’ is one such example, where images of Danger of Death signs and exposed thousand volt cables sear the mind. Some of the riffs and drum patterns are sublime, and it is interesting how the two alternately seem to share the limelight – again, testament to the band’s grip on dynamic extreme metal. The subtle variations in drumming particularly stand out for me, although it’s also impossible to ignore those more minimalist lingering sections. In such cases, that black metal convention of droning atmosphere plays as much of an intimidating role as anything involving heavy riffs and blast-beats.
‘Swansong of a Dying Race’ closes the album with more protracted oddness, the harmonious contrasted with the dissonant and those explosions of jackhammer speed. There are also, quite appropriately, a fair share of majestic overtones towards the dying stages. In all of the above respects – which really embody the album – Abyssal reminds me of Akercocke. Not least because there is a similar level of individualism and conviction to their cavernous blackness, but also, because they exude uncharacteristic class for an underground band from the UK (at least in my experience). ‘Denouement’ is very highly recommended if you haven’t already heard it.
(9/10 Jamie Wilson)
http://abyssal-home.bandcamp.com/
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