without Internet Explorer,
in 1280 x 960 resolution
I’m appalled with myself for not discovering this intricate band a long time ago. Spanish black metal falls fowl to a lot of neglect and its easy to see why when one looks at the geographical aspect of Europe. When it comes to inland Europe, I’m afraid Spain just doesn’t cut it as a top holiday destination when in search of areas that sport the finest black metal known to man and visiting this warm climate just doesn’t appeal to the global market like it may have once done, if only for a short period of time because, as much as we want to like it, Spain is simply a lesser destination when in pursuit of foreign exports that leave a lasting impression. As France has its firm grasp wrapped around the niche market of raw black metal bands and Germany for its inspirational depressive market that evokes some of the saddest looking landscapes on the face of the Earth, Spain is lagging behind its neighbours and with its sizeable population, the country is distinguishing itself as the least viable option from the three when it comes to where is best to look for the outstanding talents.
Though Spanish black metal may have its work cut out to make up the difference between themselves and other nations, even those abroad, there are a few notable bands that exist in the current era that shine brightly amongst the darkness that has long sing inhabited this seemingly defunct scene. Bands like Kathaarsys, with their progressive influenced black metal, have been around for a few years now and are really setting the world ablaze with their fiery progressionist style that mocks the likes of Opeth for trying to create an accessible mesh between the harsh and the mellow. I’ve been a fan of Kathaarsys for a short time now, but have immersed myself in the band entirely. I simply cannot get enough of their multi-dimensional and especially emotional black metal that calls upon aspects of music most black metal bands don’t - such as acoustics and clean vocals and now for why I am hugely disappointed in myself for not discovering this obscure gem earlier than in the past few weeks. Aboriorth, the bands only member and the name of the band itself, was once a member of Kathaarsys, a band I claim to love and know all about.
Shamefully, I had manage to miss the fact that he had once played a role in the conception of the coolest band in Spain at the moment, Kathaarsys. It would seem that he provided his exceptional skills on guitar for the aforementioned act and although this band, also called Aboriorth, aren’t anywhere near as experimental as Kathaarsys, his skills are still on show in regards to creating a full-of-life depiction of a repetitive style. Though this may be repetitive, as stated, it bursts into life on a number of occasions with the use of exceptionally gifted drum patterns which, thankfully, don’t rely too heavily on those clichéd double bass blasts, despite the raw nature of this band in comparison to Kathaarsys, and any other band the only member of this one has been in (this includes Xerión, another Spanish black metal band that I also have recently become aware of). His talents are, evidently, in great demand. He has a way with black metal that most modern musicians take years to come to grips with. This raw, uncompromising formula isn’t as stressed as his French counterparts. Aboriorth, the musician, likes to thrill his listeners with a number of intricate, but underlying patterns in terms of all the instrumental aspects of this record, entitled ‘Far Away from Hateful Mankind Plague’.
As previously stated, he is a gifted drummer and considering the fact that this is an element of black metal that most musicians don’t tend to excel at, I am in awe of his talents on the drums, given the highly rhythmic nature of the patterns and the low lying experimentation that takes part in the conception of the drums. As the record unfolds, it becomes clearer and clearer that Aboriorth is a man who knows how to get the best out of what he is capable of. This black metal band is unlike most, yet it will feel similar to a number of bands at first. He drives the band forward like a war machine as the lyrical themes unfold a side of the band I didn’t expect to see on show. Aboriorth dips his metaphorical toe into the pool of depressive black metal, whilst maintaining an eye on the traditional styles of war like black metal with the fast tempos and pounding percussion elements. The depressive side tends to bring out the melodious nature of the record, especially in songs like ‘My Spawned Supremacy’, which delves into a depiction of pain by slowing the song down with fuzzy tremolo guitar leads and light double bass that doesn’t deter the healthy construction.
The record is obviously divided into two contrasting sections, but this never conflict one another and actually mesh together nicely as one. The transition from one side to another is astute, direct and done with a certain amount of grace, which is shown in the lush melodies that lay the foundations for this aggressive record (which reminds me of Nargaroth at times - particularly given the epic vibe of the guitars on songs like ‘Sons Of Nihilism, Bastards Of Destruction’) on the surface of things. One side is obviously more traditional than the other, with even the “evil” vibe and vocal display reminding me of Attila in his early days for Mayhem. The vocals are, despite reminding me of Mayhem’s best vocal contributor, fresh in the mind and nostalgic at the same time. This paradoxical effect is felt throughout the records duration, as one can tell when seeing the multi-faced factions of this record displayed coherently alongside one another - that being the subtle depressive side, alongside the Trojan like side of the fast tempos and entrancing haze. Though this record may begin slowly, it unfolds into one that should become a classic in years to come. Total black metal mayhem with the best drumming since Alexander took on the role for Nagelfar.
The first time I heard this guy (believe it or not, he's the only member of the band!), it gave me the most thrilling emotion I had have since I listen Burzum or Mayhem; his style is very comparable to this bands.
I think that the most important instruments are the strings, since the riffs used in it are fast and improved like it seems an interminable suffering or a battle in a war perished that you must face. Aboriorth vocals are simple and grasped. As I said before, the strings are the best thing in this album. Nevertheless, his first five songs contain a slow and constant timing that makes you wish the speed several bands of black metal have; this is not very important because the heart of the matter is the feeling of fight in an already lost war. Personal whim: I would enjoy more if he growl or cry out more grimly or diabolically, just like Emperor Magus Caligula or even Gaahl does. However, the three songs at the end of the disc, sounds very rough and mean and are prove of the great Aboriorth potential.
The first song I heard was Sons of Nihilism, Bastards of Destruction and I have the privilege of listen to a true work of art of the black metal. The sound of the drums with the cowbell are so steady that for one second I forgot it’s an instrument; most of the time it seem a machine gun that is fire on me! I think Aboriorth could be listened by any good soft black metal fan, and I said soft just because the atmosphere in this album is kind of new depressive wave of black metal, like Acedi and Anhedonia (Swe).
Don’t get me wrong. The last four songs, Mankind Failure, Annihilation of an Empty Kingdom, Aboriorthholocaust and Denial of the Mankind (this last song is available only in the tape, and Aboriorthholocaust in the CD), seem to be separated of the other songs; it’s like the last breath of life. These songs remember me bands like Pest (Swe), or Darkthrone.
The only thing I regret in this album is the lack of speed and aggressiveness. I think that Aboriorth must become more satanic, evil and even mean to make possible enjoy him more. Either way, Aboriorth is the reason it keep me listening to black metal and never forget why in first place I enjoy this music.
This album is a probably inevitable but still surprising combination: pseudo-war black metal ala Niden Div. 187 meets the depressive, epic stylings of a band like Draugar. I suppose it's fairly natural when your mind wraps around it a bit; finding sorrow and grandeur in the chaos and terror of war, but the root combination of styles does seem a bit iffy at first sight. More surprising than the idea of them music is that Aboriorth has managed with that combination to create one of the best black metal albums of the past several years. Beneath the long, ungainly title and rather strange musical concept is an immense work, completely deserving of more attention from the black metal community than it's currently getting.
None of the ingredients alone are particularly unique. Aboriorth's music is generally based around slow, mournful tremolo riffs played over a cadence of double bass or thrash beats. Vocals alternate between a very high, almost early Cradle Of Filth screech and a lower voice resembling a combination of Attila circa 'De Mysteriis Dom Sathanas' and Abbath. The production is interesting; its base is rehearsal room and sounds possibly recorded live, but the mixing and mastering has given the overall sound a texture much like Niden Div. 187's only album: very smokey and desolate yet chaotic and intense. It provides the music with the appropriately warlike and sorrowful atmosphere that it needs and conveys it well throughout the disc.
What's remarkable is how well it all goes together. The drumming is extremely notable; the rhythms are laced with richness, with delicate accents and shifting beats and fills providing much more than just a skeleton for the guitars to build upon. But the guitars do certainly take the base of the drums and run with it, carving out precise and evocative riffs with handfuls of tremolo notes. Some of the riffs could almost be described as ultra-dark and bleak versions of those you might find on a Pagan Hammer release; with all the grandeur and epic scope intact but with none of the uplifting melodies. An almost crushing sense of despair envelopes the music, suffocating the listener with the horrors of war and loss through simple yet carefully textured melodies.
The album seems to come in two sides: the first is more melodic and mostly employs the high, screeching voice, while the second half is slower and more misanthropic and generally preoccupied with the low voice as the main vocal body. It's like a decent into some sort of catacombs; the first half is sorrowful but still has a tinge of hope and fear to it while the second is just horribly hopeless, as though the band was taking notes from Ashes. It's a very emotionally intense album, and the fact that it's conjured out of such simple and by all means not especially unique elements is a powerful testament to just how great the songwriting is. While the individual elements are common, the production as a whole is surprisingly unique, and I hope that the band and others will carry this particular idea forward even further in the future.
Aboriorth's debut is an amazing album to come from absolutely nowhere. Every note is incredibly memorable and masterfully crafted, and this album as a whole is really a bright light in a rather dim current black metal scene. Highly recommended to all black metallers interested in something new.