Abyssic – Brought Forth in Iniquity (Review)

This is the third album from Norwegian symphonic death/doom band Abyssic.

Oh my, here’s one I’ve definitely been looking forward to. 2015’s A Winter’s Tale and High the Memory were both stunning records that have only grown in my estimation over time. Towering monoliths of symphonic doom and misery, those records have definitely made me hungry for Brought Forth in Iniquity.

Whereas Abyssic’s first two albums trod similar ground, a quick glance at the songs and the lengths on their new release seems to imply that things might not be business as usual, however. With the exception of the 18-minute closer, the songs are generally a lot shorter than we’re used to, and the album’s total duration of 51 minutes is by far Abyssic’s briefest to date. So, what’s different about Brought Forth in Iniquity?

Essentially, this new material is more upbeat and brutal, yet still carries a hefty dose of doom. It spends more time in the death metal side of death/doom, and the new songs reflect this change of emphasis in their running times. That’s not to say that the Abyssic of 2022 is unrecognisable when compared to their previous work; this is definitely the same band, it’s just that they have embraced the death and, (to a lesser extent), black metal aspects at a deeper level, while still providing the lashings of mountainous doom that we’re accustomed to.

One of the standout aspects of Abyssic’s music has always been the band’s orchestral side, and on Brought Forth in Iniquity they have pushed this even further. Richly textured, luscious in presence, and affecting in potency, the symphonic elements adorn the misery-drenched songs like glittering jewels atop a throne of iron and darkness.

Abyssic’s new album is an impressive and enjoyable work. Taking what worked so well for them in the past and adding a greater degree of extreme metal variety to its doom-laden approach, Brought Forth in Iniquity is a strong return for Abyssic.

Very highly recommended.