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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.