(Avantgarde Music, 2014)
Abigor – a band belonging to the infamous ABMS during it’s earlier years – did a series of great releases in the early- and mid-nineties, with albums like “Nachthymnen (From The Twilight Kingdom)” being special to me when they came out. Masterpieces of melodic and majestic Black Metal. I must confess though, I didn’t get interested in their albums at the change of the millennium (due to lack of interest in the current state of BM in general during those times). With this in mind, I have little to say about the style of their last material featuring only one founding member, PK.
However, in 2007 the band returned with another founding member TT, having rediscovered themselves (I guess), with a new full-length and a new sound, with “Fractal Possession”. I loved this album when it came out, with it’s sheer coldness and technicality, almost non-human to my my ears. With it’s electronic samples and great intelligent vocals and lyrics, the album brought forth all the hate and scorn towards these realities of the Christian Creator God only a Black Metal band can, with a fresh sound quite unheard of (at least to me personally).
The band continued along these cold experimental and often electronic lines with “Time Is Sulphur In The Veins Of The Saint”, and their next releases consisted of revamped old material which unfortunately escaped my attention.
But now, they return with a new full-length “Leytmotif Luzifer”, and what a return it is! The style is quite similar to the material of “Fractal Possession”, in fact identical in the style of the riffs and the logics of the song-structures, but there is something new to the mix.
The drum sounds are a bit warmer and organic to my ear compared to “Fractal Possession” (and perhaps “Time Is Sulphur..”), while the guitars sound mostly as silky cold as ever, with maybe more layers and events in general. Flowing, almost surreal leads are usually in control of the atmosphere, with some other styles scattered here and there in the audial dance of Luciferian revelations. The style of the melodies and riffs bring to my mind classical music in it’s “illogicality” compared to traditional metal riffs. Both the drums and guitars are played with great skill and detail, which keeps the listener highly alert and interested throughout the whole album.
Compared to the couple of last releases, there are less electronics or synths around, or they are at least mixed to the background more.
The vocals are a marvel to behold in themselves. This time around Silenius (of Summoning among other bands and projects) return after many years (he used to be in the band on most of the nineties releases), backed up by Protector (of Summoning as well). The vocals sound amazingly similar to the vocals performed by AR on the previous releases, with more additional background-choirs and even clear singing. This method of almost spoken grim vocals suit Abigor most likely better than some more traditional BM screams. So, fans of AR’s vocals feel at home here, while being positively amazed with the new vocals fresh heights.
Without having seen the album-artwork in detail, or not having read the lyrics, it’s hard to dwell deeper into this masterpiece, but it is nevertheless obvious that Abigor today will not appeal to the average metal listener. This is higher art for the truly Luciferian mind. I believe all the “right” people know of Abigor and their recent offerings quite well, but if you happen to be someone who hasn’t yet heard of their unique style of BM, and happen to like stuff like Antaeus and DHG’s “International 666” in the same time, this album might be perfect to you.
I give my points out of sheer respect to the talents behind creating this amazingly detailed, original and majestic music, as well as to the memory of the old glorious times!
9/10 – Antti Mikonmäki