An Abstract Illusion - Woe (Willowtip Records) [Paul Scoble]
Swedish three piece, An Abstract Illusion have been making very progressive noises since 2007. The band, made up of Karl Westerlund on bass and guitar, Robert Stenvall on keyboards and vocals and Christian Berglönn on Vocals, have released one EP entitled Atonement Is Nigh in 2014, and an album called Illuminate The Path in 2016 before Woe. I was surprised to see the band have only released one album before this one; as this does not feel like a second album, it sounds like an album made by a band with far more experience and history, as Woe is clearly something special.
The band created the album as one long hour plus song, and then used natural breaks in the very long song to turn this into 7 songs. You can hear that this due to the way the songs merge in such a smooth way, and the way the whole thing feels like one enormous piece of music. Musically An Abstract Illusion have taken modern progressive death metal, progressive metal throughout the 40 odd years it has existed, and 70’s progressive rock and have melded and crafted a journey through 50 years of progressive music. In addition to all of the progressiveness Woe also has some very interesting black metal influences as well.
The style constantly moves and changes from one style to another, the transitions between disparate sections are handled beautifully, nothing is jarring or abrupt, unless the band are using abruptness as a creative choice. One such place would be on the track In The Heavens Above, You Will Become A Monster which opens with a shouted denunciation before a massive blast beat of guitars and keyboards, making a wall of sound, drops in, in a way that was a little reminiscent of Curse You All Men by Emperor.
The progressive death metal elements that are scattered throughout the album, are in places very savage and extreme, some of the blast beats are very impressive, opening track The Behemoth That Lies Asleep features some ferocious blasting sections. The complex riffs you associate with progressive death metal are here as well, the song Slaves features some great progressive death metal riffs, there are similarities with bands like Rivers Of Nihil, Wills Dissolve, and with older progressive death metal such as Opeth. The progressive death metal that runs through Woe is always there to slap you round the face if you start enjoying the softer elements too much.
Speaking of softer elements, the death metal is often tempered by softer progressive metal. The track Prosperity is full of progressive metal influences; opening with a section that is reminiscent of Enslaved’s more recent work, with a big driving bass riff that is full of energy. The song features parts that are taut and rhythmic, but build to become expansive and huge by the end. Another standout example of these riffs is on the track In The Heavens Above, You Will Become A Monster which is full of progressive metal, once the blasting opening is out of the way. The song features some awesome complex riffs and in the latter parts of the song some sections that remind me of Devin Townsend’s style of very bright and shiny progressive metal, there is a similarity in how the keyboards work with the guitars and that same feeling of hugeness.
With all this progressive death metal and progressive metal, you’d expect a little progressive rock, and Woe does not disappoint. Throughout the album I can hear flashes of Rush, Gabriel era Genesis, Yes and in particular parts of this album seem very influenced by Pink Floyd. The opening of Tear Down This Holy Mountain features soft keyboards and a clear, pure electric guitar that channels David Gilmour, and feels as if it was an unused part of Dark Side Of The Moon or Wish You Were Here. There are some vocal harmonies that are very reminiscent of Pink Floyd as well, some of the harmonies on Prosperity are lush and beautiful and really add to the song.
Woe is a stunning album. It’s a massive, beautiful, savage musical kaleidoscope of an album. The songs constantly change, creating a piece of work that should be a mess, but is a masterpiece instead. The arrangements are so well done, it feels huge, but at the same time is delicate, and intricate with many disparate parts coming together to form something amazing. If you haven’t heard of An Abstract Illusion before, get ready to hear a lot about them as this album is going to be huge. Make sure to leave room on your yearly top tens, as this album is guaranteed to be part of them. 9/10
Previously unreleased album Wurdiz aims to entice the listener with it’s blend of Nordic dark folk. The album opens with strongly with Wyrd Webba it is bleak, ominous but has a powerful presence which made an immediate impact setting the tone for the album, early contender for highlight track of the album. Every track feels like it has been crafted for a movie soundtrack as the traditional elements that weave through the entirety of the album take for example Eaxlgestealla it evokes such a deep sense of wonder and mystery of the past with the story the band are telling and the more the album continues the level intensifies ever so slightly.
Another favourite for its use of traditional instruments is Ceorfan its haunting melodies pass through into the following tracks well with every track managing to stay true to history but still adding something new and managing to pull the listener in more with tracks like Ungewiss which is without any doubt my highlight track of the album. The album concludes with the great combination of Slaep Nu Softe and Waecnain which differ in vocal approaches but is no way lessens the intensity of Wurdiz. The more I listen to this album the more my experience differs but with always the same result. A good celebration of pagan legacy 7/10
Omophagia - Rebirth In Black (Unique Leader Records) [Richard Oliver]
Rebirth In Black is the fourth album from Swiss/Brazilian brutal tech-death metallers Omophagia. Omophagia are a band I have seen mentioned but until now not one that I have ever listened to. The band formed in Switzerland in 2006 and are made up of a mix of Swiss and Brazilian musicians. Omophagia perform that style of death metal that fuses together skull fracturing brutality with intricate technicality but Omophagia also incorporate some symphonic elements into the mix meaning that the album also has an air of grandiosity about it.
Songs such as The Plague, Insights Of A Dying Man and Redemption In Self-Destruction (which features Karl Sanders of Nile in a guest lead guitar spot) have that epic sound about them mixed in with superbly technical musicianship as well as being crushingly violent and heavy. We also get a handful of songs which are more full on, all guns blazing death metal ferocity such as Serve As Slave and All For None. A lot of bands with similarities to Omophagia can be very much style over substance or can sound very repetitive but thankfully Omophagia are not only excellent musicians but can write a mean and memorable album of death metal goodness.
Rebirth In Black doesn’t try and reinvent the wheel when it comes to death metal but is just simply a superbly crafted album featuring 11 songs that are technical, brutal and epic in equal measure. 8/10
Crosson – Ready, Aim…Rock (Galaxy Records) [Matt Bladen]
Crosson are an Australian Theatrical Glam Rock band. So much of that sentence will bring a shudder to the spine but for me it’s the glam bit. It’s got to be one of least favourite genres so I’ll admit that now, however Crosson seem to trying to make the most generic (not a term I use often or lightly), vanilla glam rock possible. Ready, Aim…Rock already has a title that sounds like something Kiss would find too cringe worthy and they made Music From The Elder. But it’s the grade school lyrics and the fact that writer/singer/producer Jason Crosson has a dull, low vocal with very little variation.
Crosson says he’s inspired by Meat Loaf/Jim Steinman but honestly I’m a huge fan of both men I can’t hear anything like them here. OK there’s some Queen like harmony’s in the backing vocals and Marko Rado’s guitar playing is pretty good but considering this album was mixed and mastered by men who have worked with Motley Crue, Kiss and Aerosmith, Ready, Aim…Rock feels like a pale imitation of all of those bands. I tried to be nice, I really did. 3/10
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