February saw the release of some very good metal. Let’s have a look at some of the top picks below… Continue reading “Monthly Overview – the Best of February 2019”
Ever since listening to and loving the band’s debut album A Winter’s Tale that was released in 2016, I’ve been hungry for more Abyssic. Well, it’s finally here, and it’s a monster. Continue reading “Abyssic – High the Memory (Review)”
You may not know who André Aaslie is, but hopefully that’s about to change. He’s the man behind both the atmospheric splendour of doom-titans Abyssic and the symphonic black metal of Images at Twilight. Both bands are doing something a bit different and a bit special with their respective styles, down in no small part to their classical/orchestral parts, courtesy of André . Abyssic’s A Winter’s Tale and Images at Twilight’s Kings are both a firm hit with me, so when I got the chance to quiz the man himself, I didn’t hesitate…
What are your influences?
My main influences for Images At Twilight is the black metal scene from the nineties, and especially bands like Dark Funeral, Marduk, Emperor, Limbonic Art, Tartaros, Bal-Sagoth, Satyricon, Nokturnal Mortum, Obsidian Gate, Dimmu Borgir, Anorexia Nervosa a.o. In Abyssic, I need to mention My Dying Bride as the main influence for both me and Memnock. Until now we have made all the music together for Abyssic. In both bands I could mention several film-score conductors. And also a lot of progressive rock from the seventies, as well as the one and only Devil Doll, who influences just about everything I do in music. Continue reading “Interview with André Aaslie (Images at Twilight/Abyssic)”
Well this is an absolute monster of an album. At 79 minutes in length and featuring just four tracks, Abyssic certainly know how to provide the listener with a lot to get their teeth into.
A decent stylistic reference point for Abyssic would initially be the old Peaceville roster, with bands like Anathema, My Dying Bride and Paradise Lost all providing an idea of what the base of the band is like. Only longer and more epic, of course. Once you have this in your mind’s eye, mix in some more modern, epic funeral Doom from the likes of Monolithe, as well as a sterling Classical influence, and you’ll have a good idea of what Abyssic are getting up to here.
The symphonic aspects of Abyssic’s sound are big, bold and unashamedly impressive. Abyssic don’t hold back, and nor should they. This is a band that manage to incorporate the symphonic and Classical elements into their sound in a holistic and complete way, rather than having them just added on at the end. The music easily takes on a cinematic legendary feel and each of these long songs feels like a story. Nay, a saga.
A Winter’s Tale benefits from a huge and lavish production that allows all of the different parts of their repertoire to sound clear and crushing. Thick guitars and textured keyboards merge together with the crushing drums to provide the listener with a very engaging and absorbing listen. The songs may be long, but if you have the time to spare for them then there is so much here to enjoy.
For the most part the vocals are deep, dark growls, of the kind that are pretty much standard for Death/Doom. That’s not to say they’re not effective or don’t do their job though.
Long they may be, but these songs justify their own existence by being so damn impressive and well-put together. The band know their stuff, that’s for sure. Amazingly, given the length, these tracks don’t get boring and the lavish, lush orchestration is a constant joy to listen to, especially when combined with the heaviness of the guitars.
This atmospheric album really nails the best parts of the Death/Doom style for me, and the overwrought symphonic elements are just candy to my ears, pulling the whole thing up to another level.
Very highly recommended.