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Cosmic mallcore - 0%

mentalendoscopy, July 14th, 2010

The fecal matter of an unexplained deity floating aimlessly in an ever so distant side of the universe. Rather pointless it is, disgusting in look, taste, and smell. It simply is waste from Yog-sothoth, Azathoth, or whichever deity you choose. Such is the case with the so-called "black metal" band Abigail Williams. First off, I would like to pronounce that this band is not, in fact, black metal. There is not an ounce of black metal in this band's sound apart from the occassional blast beat and tremelo picked riff. No, this is pure, unadulterated, deathcore.

The band's "gimmick" is their use of keyboards to create a so-called "epic" sound. However, these keyboards are rendered useless as the backing band itself refuses to stick to a single riff long enough for any amount of atmosphere to be built up. Bands like Wolves in the Throne Room, Burzum, and at one time, Emperor, know how to do this to great effect. Abigail Williams, however, just sound terrible when they attempt to do this. Tracks like "Into the Ashes" open with particular emphasis on the keyboards accompanied by cheesy howling winds, which could be taken from any Cradle of Filth song, but are followed by atrocious and absolutly gay excercises in what the band probably perceives to be "black metal". It's nothing more than Emperor worship, however, which you can take however you wish.

However, the Whitechapel worship is still there. Songs like "Empyrean" feature two-step beats (3:45), and songs like "Smoke and Mirrors" are filled with breakdowns (0:18). None of these things are ever present (and nothing even remotly resembling them is present) in black metal, and considering this band is attempting to cement themselves as a legitament black metal group, I don't really have any idea what they were thinking. The usage of breakdowns in metal is just one of the constant things in metal itself that never doesn't ruin a song, and even in a black metal enviroment, which seems to work with everything, they are spat right back up like an insect in your salad. It sounds absolutly terrible sounding, and offensive.

The solos consist of scales being sweeped up and down until the guitarist speeds up the sweeping and then jumps back into the "black metal". The drumming is uneventful, stupid and boring at the very best, and lacks any sort of cohesive element that could keep me interested. Similarly to Despised Icon, am I expected to care how fast this drummer can blast? How quickly he can jump from a fill back into a blast beat and back into a "br00tal" breakdown? If so, than I don't see the attraction at all. Fortunatly, the majority of the album was performed by Trym of Emperor, and while I may despise his work with the band, at least he's better than "Samus". Samus's style consists of the following "blast, blast, blast, blast, blast, blast, two-step, blast, etc.". At least Trym gives off a quasi-black metal atmosphere, but Samus just sounds like some idiot who's only idea of black metal is what Ken Sorceron told him to copy (obviously it was "Anthems to the Welkin at Dusk").

Moving on to Sorceron, this guy at least attempts a black metal voice, but he possesses neither the attitude nor the manliness to do so. Of course, he's a great deal better than Dani Filth, Ollie Sykes, or Trevor Strnad, all terrible vocalists who have attempted (and failed) to do what he's doing here. Still, he adds nothing to the music and just comes across as an extremly monotonous and annoying Chihuahua barking endlessly into the night as you stuff your pillow of eternity into your ears in a futile attempt to drown it out. Feeble they are, as these shreiks of pointless and endless torture carry on into the night until you are lulled to sleep by their total monotony. However, Sorceron apparantly also let go a few stubborn turds during the recording process, and in result his voice deepens on some songs, resembling weak growls.

Tracks like "Floods" and "Smoke and Mirrors", mirror the work of Whitechapel, with use of breakdowns, and horrible vocals, while tracks like "Into the Ashes" and "Empyrean" mirror the work of Emperor, with rather campy keyboards, monotonous high screams, and "uber-fast blast beats". There is not a single redeeming factor of this album, even with so much Emperor-worship. It's one hundred percent, unadulterated crap in audio format. The way I am forced to see it, any who like this release have never heard "In the Nightside Eclipse" before. Do not ever listen to this album.

Highlights: None.