Category: Black Metal / Industrial / Experimental
Blurb: A sonic onslaught that brings together the best elements of the two extremes of black metal and industrial, making for a viciously rewarding listen.
While the merger of industrial and black metal is certainly nothing new, few bands manage to successfully achieve a cohesive balance between the two such that the strengths of both styles complement each other; in most cases, they are invariably fighting for dominance, thus creating a cacophonous, occasionally enticing, but usually disjointed end result. Since the band’s formation in 1993, Malfeitor Fabban and his ever changing company of musical demolitionists has carved a singular niche for Aborym, standing out as a truly alien entity that captures the grimly demonic majesty of black metal without sacrificing the mechanical seethe and scathe of aggressive industrial. Such is certainly the case with the band’s latest offering, Dirty, an album that lives up to its title.
Throughout the album, Fabban’s voice alternates between the familiarly raspy croak of black metal to a gritty but clean melodic tone, as on a song like “Across the Universe,” the pulsating synths and metallic factory-like percussive loops underscoring the verses before exploding into a vicious intercourse of industrialized metal bombast. Similarly, the waves of keyboard and guitar noise, the later culminating in a demented solo in the song’s climax amid Fabban’s multilayered vocals on “Face the Reptile” makes for one of the album’s most distinguished tracks. While guitarist Paolo Pieri’s riffs pummel the listener with all the fury of a demonic concerto, the tone retains a chunky and rather acidic tone that works well in tandem with the synthetic sounds of programmed beats and samples. The same can be said of drummer Bård Eithun. His proficiency on the skins playing a fine organic counterpoint to the cold precision of the loops and machines. This interplay of elements is present on every track, but is especially palpable on the album’s magnum opus, “The Factory of Death,” shifting from blastbeat-laden assaults to ambient swirls of intricately arranged synths that are simultaneously orchestral and robotic. Other notable tracks include “Bleedthrough” with its siren-like squeals of guitar hovering amid skitters of distorted synths, the deceptively danceable “Helter Skelter Youth” as its percussive attacks and throbbing bass make it more than suitable for dance floor treatments, and the closing track, “The Day the Sun Stopped” is a fine showcase of apocalyptic grandeur, full of morose washes of operatic gloom, ending with the sounds of suffering and pain.
With a second disc encompassing covers of such well known pieces as Pink Floyd’s “Comfortably Numb,” Nine Inch Nails’ “Hurt,” and Iron Maiden’s “Hallowed be Thy Name,” as well as rerecordings of two songs from Aborym’s early period, the band pays homage to the fans with Alberto Penzin’s “Need for Limited Loss.” Consisting of various elements of ideas and recordings sent by fans and compiled into a single track, the track is the ultimate example of Aborym’s willingness to experiment with the boundaries of music and production as a whole to create a song neither black metal nor industrial and yet possessing the best of both worlds. With the remix companion now released as well, Dirty stands as a viscerally engaging and furious sonic onslaught that may be an arduous task for many to endure, but those who do will be well rewarded.
Aborym Website http://www.aborym.it
Aborym MySpace http://www.myspace.com/aborym666
Aborym Facebook http://www.facebook.com/aborymofficial
Aborym Twitter http://twitter.com/aborym1992
Aborym ReverbNation http://www.reverbnation.com/aborym
Aborym SoundCloud http://soundcloud.com/aborymofficial
Agonia Records Website http://www.agoniarecords.com
Agonia Records Facebook http://www.facebook.com/agoniarecords
Agonia Records Twitter http://www.twitter.com/agoniarecords
Agonia Records Bandcamp http://agoniarecords.bandcamp.com
Ilker Yücel (Ilker81x)