Abyssal – Misanthrope

Very interesting has been the work of Abyssal, a Mexican band founded by Fernando Ruiz in Tijuan, because since the debut Blindness (2009) it has presented a funeral with rather reflective traits, sporadically shaken by canonically metallic overhangs: it’s no coincidence that in that first discographic step an important function in the economy of the work is covered by the use of the cello as a guide instrument in the most rarefied parts. The following albums Landscapes (2010) and Ad Noctum (2014) retain the above-mentioned characteristics, though renouncing the use of the string instrument, even if the last album in chronological order accentuates a more painful trend and a greater melodic research. With Anchored (2015) the work of the Central American band becomes more dissonant: the sound is dirtier and reverberated and, overall, heavier than the previous tests, ending up in my opinion to distort in part the peculiarities exhibited by Abyssal until then. The first three works, all characterized by the presence of a single track lasting between eighteen and twenty-five minutes (which make them more of an ep than a long-distance album), in light of an undoubted stylistic homogeneity were then collected in a compilation entitled MMVIII-MMXIV released in 2018. Misanthrope, an album in which Ruiz pushes the one-track formula up to three quarters of an hour, also dates back to the same year: a risk that paid off in finding the right balance between the more dilated structures and the discontinuity elements included in Anchored. On the other hand, the intention of Abyssal is to induce in the listener a sort of trance not unlike that caused by psychedelic music, using as a hypnotic vector the slow reiteration of arpeggios and the interweaving of the three instruments, breaking everything sporadically with a growl resting on reverberated distortions; Misanthrope, in this sense, hits the mark, demanding for Abyssal a greater attention than that obtained so far.

2018 – Concreto Records / Transylvanian Tapes 2021 – Loud, Slow and Distorted Riffs