Abstract Spirit – Horror Vacui

In the Russian funeral scene there are basically three bands that immediately come to mind, albeit on different planes: in addition to the fundamental Comatose Vigil and Who Dies In Siberian Slush, the third point of emphasis was definitely Abstract Spirit, for a variety of reasons contiguous to the former, not only because of the common presence of vocalist and drummer A.K. iEzor (Andrey Karpukhin): the sound entrusted mainly to the keyboard of I. Stellarghost (Alexandra Fomenko) made the two proposals rather close even if, in this case, the sound took on a greater variety and, at times, dissonant if not experimental characters than the inflexible orthodoxy of what, moreover, in its first incarnation was called Subhuman Abstract. In fact, the two offerings, at least for connoisseurs of the genre, appear distinctly distinguishable from each other, and while Abstract Spirit in some ways drew sap from the Comatose Vigil of Not A Gleam Of Hope, it must be said that their three first full lengths were then all released before the milestone Fuimus… Not Sumus, which speaks in favor of a certain stylistic autonomy obviously stemming from different compositional minds (there Alexander “ViG’iLL” Orlov, here the duo M.Hater (Mikail Petrov) – I.Stellarghost). Personally, I have always felt that the band was at its best with the debut Liquid Dimensions Change (2008), a more linear and melodically effective album, infused moreover with excellent guitar passages by Petrov, an aspect not found in Comatose Vigil, just to continue with the parallels. Already with the subsequent Tragedy And Weeds (2009) the tendency, however appreciable, to break away from those sounds began to emerge by inserting often disharmonious orchestral elements, referring to the typical atmospheres of Russian funeral ceremonies. With Horror Vacui, the Moscow trio achieves the ideal synthesis of what they proposed in their first two works: the mournful and melodic procession is thus amalgamated with the orchestral dissonances without them appearing a foreign body to the whole and, in this way, even an almost excessively baroque piece such as Post Mortem turns out instead to be the perfect manifesto of Abstract Spirit‘s musical idea.

2011 – Solitude Productions