< Famed Judas Priest singer and gay fashion icon Rob Halford has been recently vocal about starting a black metal supergroup. A longtime fan of the genre, Halford has named Ihsahn of Emperor and Nergal of Behmoth as potential collaborators, with the latter jumping at the opportunity to use his cartoon-black-metal brand to pocket even more mainstream metal dollars. Unfortunately for Halford and anyone dumb enough to be duped into thinking something like this will be good, Nergal will not have much to offer in terms of a black metal supergroup as he has not played black metal since 1994's Sventevith despite masquerading around in corpse paint whenever it’s time to roll out the red carpet.17 Comments
Immortal is back! Well… sort of. Halfway there. Right? In name at least?
You see, Demonaz- Immortal’s original guitarist during the 90’s, lyricist during the 2000’s, and now vocalist/guitarist and lyricist in the 2010s- is back with drummer-on-some-albums skinsman Horgh. Wait, actually, the two have only played together on one album (out of twelve) so can they really “be back?” Anyway, Demonaz and Horgh have out-lawyered the band’s drugged out drunken cornerstone musician Abbath, who played every instrument except for guitar when Demonaz was in the band and then played guitar over 9000 times better than Demonaz once the latter got a case of tendentious. With the name locked down and a healthy Nuclear Blast Records budget, the duo get ready to make a seriously play for the wallets of misguided fans.
But wait, the tendentious that crippled him for a decade is suddenly gone? Can he still pick at the rediculous guitar tempos of Blizzard Beasts? Can he even play at all? There’s a lot to unpack in this one, so let’s get trolling as we recap the story of the band who turned black metal’s creepy aesthetics into the hair metal of the 90s…
Tags: 2018, abbath, agent orange, Black Metal, Blashyrkh, Blizzard Beasts, cash grab, death metal general, Demonaz, emperor, grim and cold, grim and frostbitten, grim and nipply, holograms, horgh, immortal, lawyers, metal, mortiis, new album, news, Obsessed by Cruelty, sellout, sodom
Article by David Rosales, read the first review here
It is hard not to laugh when so much of this album plays as if Abbath were trying to sound like modern Ozzy Osbourne: Funny, rhythmic rock grooves, repeated to death while little breaks and winky variations take place (see ‘Winter Bane’ for a good laugh). Most of the remains of a black metal attitude are try-hard and unconvincing. This solo album remains largely black on the outside but poser rock inside.
One of the most painful moments comes when you hear Abbath using the flanger special effect, a remnant of eighties fruitiness. This is in line with the fact that he did not seem to really try to make this a black metal album, but a clearly rock-oriented stunt with only superficial colorings that might lend the project a corpse-painted face to be recognized for. This in itself disgusts me, and should disgust anyone else who rejects the whole idea of metal for the masses, as it only spells out least common denominator dumbing down.
At its best, Abbath might try to sound like the epic heavy metal of Quorthon, especially on the mid-paced tracks where there is an obvious viking air. This is the only rescuable aspect of this album, and it might be the best course for Abbath to take, embracing this epic viking metal altogether and leaving behind the black speed pretensions. That way, he might concentrate on converting these rock bits into proper metal.No Comments
Abbath’s pitfalls on Abbath are garden variety pitfalls (haphazard songwriting, too much time on the mixing consoles). What really distinguishes this album from all the other comebacks (like our recent coverage of Dystopia) is its main author’s legacy. Abbath’s previous accomplishments with Immortal factor very heavily into any promotion of his solo efforts, and this album has already received a great deal of praise because it doesn’t rock the boat by not sounding like Immortal and its more openly rock-like spinoffs (Between Two Worlds, March of the Norse). Divorced from the fame, Abbath might draw a little positive attention for having slightly above average individual riffs and instrument interaction, but that doesn’t stop it from paling in comparison to what Immortal themselves achieved.
A lot of what I could say about this album has already been used to describe previous efforts from when Immortal itself lost the impetus that made it so interesting in its early years. Running a simple search and replace on Brett’s descriptions of Damned in Black to replace band names makes for a very accurate, albeit not particularly original summation of how Abbath falls short. Surprisingly, it also describes some of the strong points; this album is arguably a lot more appealing on a superficial level than Immortal’s earlier studio albums. While skillful organization of musical content makes careful listening to a track like “The Call of the Wintermoon” off the debut pay off in the long run, I will admit that earlier material sometimes falls short in individual riffs and solos, mainly because the band members were less technically skilled in the past. That attention to detail, though, rendered the old works more ambitious. In contrast, a couple of tracks here come off as especially contrived; for instance, “Ocean of Wounds”, which sounds like Abbath and company decided that they absolutely needed to have a mid-paced arena headbanger. Many of the tracks aren’t as obviously pop oriented, but they’re still pretty haphazard and unmemorable once you start memorizing the individual elements.
It should come as no surprise that I don’t exactly recommend Abbath. The main difference between this and most of the chaff is that I think the musicians involved could do better if they set their minds to it based on the fact that they have, although the subtleties of the past sometimes just don’t pay the bills. At the very least, a financially successful but vapid comeback is a different problem than continued effort from bands that never put out anything of value.9 Comments
We’ve sampled a few of the tracks Olve Eikemo has released as part of the Abbath project. They certainly exist, that much I can tell you, but I personally wasn’t able to get much out of them beyond a certain level of instrumental proficiency. Response from the rest of the metal communities (curse their still-beating hearts) has been more positive, and Abbath’s proper solo debut will come out on January 22nd, along with a plethora of other albums we’ll have to at least give a perfunctory look. In the mean time, another track from this album (“Count the Dead“) has been released as a single, in case you didn’t already have enough clues about Abbath’s musical approach. Furthermore, Abbath is headlining the 2016 Decibel Magazine Tour through March and April, so he’s definitely got a busy schedule ahead of him.
Article by Daniel Maarat
Addict in denial Abbath Doom Occulta has previewed a new track with Metal Hammer from his solo project, Abbath. Winter Bane “…comes with many of the qualities that are the essence of this band: epic, honest, powerful, and a heavy headbanger.” Surely many neck vertebrae will be dislocated by this radio pop for nasal decongestants attempt, but many more by decades-old Immortal material:6 Comments
Immortal’s ability to consistently release content since has fallen by the wayside since 2002 (although their quality was arguably ailing before that) between periods of legal disputes, side projects from band members, and that time in the 2000s when they were literally split up. Abbath has thrown his efforts into another side/solo project, and Season of Mist has seen fit to give us a sample from upcoming material – a semi-live studio track named “Fenrir Hunts”.
This track sounds more overtly like death/black metal than much of the Immortal members’ recent work, which were generally more oriented towards older forms of metal in songwriting even when their aesthetics were not. “Fenrir Hunts” strikes this reviewer as yet another highly polished, technically sound song with some nods to the need for varied structure in an otherwise fairly standard formula. In short, an acceptable effort, but not one that particularly excites me for this release, or one that compels me to listen to it over previously proven and enshrined classics like Pure Holocaust. I can hope that the full album will be more interesting when it comes out (and the early state of this song suggests room for improvement), but it seems most likely that this will be another soul-crushingly “okay” album.9 Comments