Review Summary: Abyssal's Profound Lore debut exceeds all expectations.
Though dismissive and exaggerated, the idea that Abyssal was something of a poor-man’s Portal had an element of truth to it. Had the one-man project – masterminded by the mysterious G.D.C. – continued in the direction it was headed, a career spent in the shadows of his idols seemed to be inevitable. Fortunately, Abyssal’s latest album has been built upon a foundation bearing little if any resemblance to that of its predecessors, all while maintaining the surface noise and quasi-formlessness that prompted the Portal comparisons to begin with. The newfound originality and sudden maturation in G.D.C.’s song-writing doesn’t just elevate
Antikatastaseis above his earlier work, but plants it in the company of some of the best death metal albums of 2015 thus far.
In order to absorb the album’s intricacies, a solitary listen will not suffice, though it is safe to say that
Antikatastaseis is Abyssal’s least demanding album by a comfortable margin. Such a remark will probably raise red flags en masse, but don’t be fooled into thinking Abyssal’s formula has simply been diluted, because the album’s comparative linearity is, in fact, hugely beneficial to the overall atmosphere. Dissonant, free-form riffage and frenetic drumming still dominate proceedings, while G.D.C.’s monotone gutturals linger on the periphery of your attention, creating a mood of unease, akin to the feeling of being watched or followed. On the surface,
Antikatastaseis may appear inescapably dark, an ensemble of blackened platitudes that, while commendably executed, end up feeling a little one-dimensional. However, this couldn’t be further from the truth. Amid the gloomy aesthetic is an ever-present sense of optimism – a tenacious refusal to be consumed by despair.
It becomes obvious during the closing minutes of “The Cornucopian” that Abyssal is capable of far more than dread-laden brutality, as a strong harmonic presence begins to tear through the barrage of blackened sludge. But, it’s not until the fourth track that the album’s mood shifts so comprehensively. “Telomeric Erosion” is unlike anything heard from Abyssal before, the second half is harmonious, melodic and incredibly uplifting. The chord progression in the song’s climax wouldn’t sound out of place – dare I say – on an Insomnium album, a reflection compounded by the use of overarching synth lines that take the lead towards the song’s conclusion. “Chrysalis” makes use of a similar philosophy, except the mood shifts once again, this time from hopeful to triumphant. Repeated listens appear to unveil a thematic arc, feeling like an arduous journey bookended by adversity on one side and absolution on the other.
Antikatastaseis is such an all-round improvement for Abyssal that one could easily be convinced they were listening to a different band. However, it isn’t necessarily the quality that is most impressive, but more so the complete reversal of strategies utilised, and the responses it manages to elicit. Death metal is notorious for its homogeny, the blackened variant further still. So for an act like Abyssal to demonstrate this kind of flexibility, in light of what we’ve been given in the past, is actually quite extraordinary.
