Review Summary: lacking in abstraction, void of dynamics
At its core,
Into the Blue is a pretty cut-and-dry project: 80s style synthwave + black metal. Others have blended black metal with different kinds of electronics, but the way Abstract Void approaches the idea is rather unique; combining one of the darker, more sinister metal subgenres with a decidedly lighter and dancier brand of synth work is of course an admirable endeavor. Unfortunately, regarding
Into the Blue, surface level is where the intrigue ends.
It could be that the musician behind Abstract Void would say their influence comes more from 'post-black metal' than the standard ilk, or it could just be that both the songwriting and execution are thoughtless and transparent enough to recreate 'black metal' on only the thinnest aesthetic level. I lean more towards the latter. But even if this was specifically branded as a 'post-black metal' release, that still does not excuse its tragic blandness.
The production is remarkably adequate; it sounds just as bright and full of exuberance as a work using synths for a 'wow' effect should. But every song is the exact same slog. There are no peaks and valleys we recall from the most powerful black metal performances, only the same tepid post-rock strum-alongs, and not even the good, early Explosions in the Sky-type, more like the gratingly obvious This Will Destroy You-type. Rarely do the guitars engage in any kind of memorable lead, let alone tremolo picking. They're content in droning huge simple chords in the background pretty much the whole time.
This is where the edge inherent in black metal would come in handy. There might be a trait that could cut through the droning and provide some needed texture. But
Into the Blue doesn't even deliver there. The vocals are far away enough in the mix, and delivered accessibly enough (that is, not a lot of rasp, not a lot of shriek) to remain a blissfully inoffensive part of the whole; a casually hovering kvlt factor. And not to get too nerdy, but jeez, the only discernible blast beat is in the beginning of the inexplicably titled 'An Euphoric Dream,' and it's not even a
real one.
But there is a lot more to be explored here. There's a couple breaks where the guitars pull away to reveal the electronic interactions; underlying pads accented by breezy, cheery house-type kicks. Incidentally, these are by far the most interesting moments on the album, as they reveal the true space within the songs, as opposed to the 'black metal' segments that simply keep escalating their contrived intensity (relying heavily on the double-kick, of course). But in the end, they are only 'breaks,' and in the end,
Into the Blue takes you just there: a place you've probably been a thousand times.
