Lately it seems like the world is steadily succumbing to a rise in human ignorance, natural disasters, and other literally plaguing factors, which gives an impression of the end days being fully set in motion, and ABSTRACTER drives this unsettling point home on their fourth full-length atrocity titled Abominion. An imposing mass of blackened doom is displayed on this new apocalyptic rite as its dark and desolate vibrations remain unsympathetic to the human condition. These orchestrations seek to snuff out any lingering hope or light with their crushing burden and bleak atmospheric outlook, along with other aspects to seal a horrid fate. Here the doom goes beyond a mere portent and is actualized through the ruthless spirit of ABSTRACTER, with Abominion forcefully dragging mankind through the wreckage of its own parasitism.
A heavy dissonance beats slowly in time with the drumming on “Eclipse Born,” and desolation is evoked by haunting ambience that evolves toward a raw distorted emptiness. Fury erupts with the deep rasp of vocals, and blast beats fluctuate from a mid-pace to haste as bleak riffing pursues its destructive course. Dark forces converge as the ambient elements resurface to signal a transition with double bass and distant lead effects, along with dismal tones that intensify during other ritualized drum patterns, and a grooving shift drives the grimness into further ruination on “Warhead Twilight.” Entranced harmonic wails emanate from a core of tonal harshness, and its discord rouses with the crashing pulse that emerges. These formations trudge through utter devastation alongside guttural roars, and somber expressions appear in tremolo riffs while traversing a series of rhythmic blast beaten and double bass variations. Vocal monstrosities echo their compounding wretchedness until an aural descent gives rise to melodic dread, which continues until being overshadowed by the resurging compositional intensity. This culmination wreaks unrelenting havoc to ensure downfall prevails before its final dissolution.
Crushing reverberations persist on “Tenebrae,” and multiple harmonic layers create an otherworldly presence as this funereal droning launches an onslaught of blasts with dense tremolo fury. This drifts into a dark rhythmic flow, with bleak riffs that hypnotize while conveying perpetual decline, and they progress with drumming intricacies until doom is seized in the haunting manifestations that follow. An irregular pulse drives the despair to a terminal rage before oblivion sets in on “Abyss Above.” The pounding rhythm carries out its methodical expansion, accompanied by guttural outbursts that bear down mercilessly, and the onset of double bass amplifies a menacing possession in the riffs as they spread desolation and gloom across other groove and blast beat transitions. Madness amasses in the progressions, and a dreary melody appears in the midst of broken forces that regather to execute a decimating finish. “Lighteater” transfers their cumulative intensity over to a fatalistic procession of chords, and it steadily escalates toward unsettling developments that turn depressive when the double bass enters. An apocalyptic conjuring issues from the slow looming heaviness and melodic counterpart that transpire, which then strives for devastating impact with blast beats that advance through alternations of doom-laden striking and dissonant wrath. These elements and other shadowy forms intertwine as the inevitable approaches, with a dismal melody unfolding within their relentless display, and the combined brutality overwhelms for an ending of catastrophic totality.
A grim future for humanity is unveiled in lyrics that spare no misery in their candid portrayals. The end begins with an arrival in this new reality on “Eclipse Born,” and the origin of its post-apocalyptic imagery is shown to be “mankind’s wretched womb.” It blatantly declares “no fucking hope” as “the dead now walk the earth” and “the world boils in the shadow of the black nuclear star.” Warhead references abound in these texts, and nuclear Armageddon continues on “Warhead Twilight” while describing “endless mass graves” with “portents unbound.” It appears to be Ouroboros that emerges from a “hole in the skull of the world” to terminate humanity “as coils of end constrict the breath of this race.”
The endless potential and inherent good of humans are shown on “Tenebrae,” but they instead become “gods of dissolution” through “centuries of greed, avarice, ignorance and fear … cast into arsenals, famine, pollution and war.” The vile nature of man and nuclear devastation leads into the gaping depths of total death on “Abyss Above,” and “Lighteater” finalizes this dark vision within a “necropolis at the edge of life.” It ends with a heaping display of carnage with “cathedrals of ash and carrion … draped with corpses, adorned with ghosts … consecrated with plagues.” These lyrics touch on a number of issues humanity is currently facing, and the outcome presented here is unfortunately possible if certain influences persist over time.
ABSTRACTER have created the soundtrack for a dead world on Abominion, and it demonstrates a vengeful attack that suffocates with its bleakness while the crushing elements aim for complete obliteration. These five revelations express sorrow and regret for the ruination that becomes, along with a deep contempt toward the beings responsible, and their looming structures evoke dread through other dissonant tones to compound the aural severity. Inhuman vocals project a variety of tormenting inflictions to augment this hellish mix, and the sense of desolation intensifies with an effective use of haunting ambience. ABSTRACTER have transcended the lowest depths of the abyss on Abominion, and their grim delivery of doom leaves a mark worth the trauma for those who revel in this approach to punishment.