Review Summary: A huge improvement from their debut album but still full of potential to be better than it already is.
Due to a comically fantastic error at a CD printing factory, British comedian Bernie Clifton’s album of cover songs had its track listing replaced with song titles from Abhorrent Decimation’s debut full-length,
“Miasmic Mutation”. Mainstream publicity flooded their way from this mistake as well as press from how much this debut was a statement of intent within the UK death metal scene. Having carved an identity on the back of the strength and attention of their aforementioned debut, Abhorrent Decimation has now evolved into a more confident beast while sacrificing none of their established brutality.
This newfound confidence and maturation are unearthed through the dynamism of
“The Pardoner”. Instead of focusing on creating a chaotic environment on every track by churning out systematic riffing and expectant breakdowns like a number of technical death metal bands do, Abhorrent Decimation dares to be more adventurous than their counterparts. Chaos should not be presented in a systematic or methodical manner- that contradicts its meaning. With
“The Pardoner”, chaos ensues freely in songs where sharp guitar slides collide with sludgy chugs and dissonance and harmony are frequently sewn into the same texture.
The chaos that this album exhibits isn’t always executed tumultuously. Abhorrent Decimation’s way of displaying that their sophomore album is based on a concept is by experimenting with extensive orchestral elements into the songs, displayed instantly in the opener, “Soothsayer”, where hauntingly murky violins and piano lull us into a false sense of security before bludgeoning senses with commanding riffs, searing howls and exquisite frantic drumming from Alex Micklewright. Occasionally, the regal orchestral elements seem misplaced in the songs such as “Heretic Sacrifice” and unnecessarily increase the runtime of what would be a short song better suited for breathless guitars and shuddering blast beats. Nevertheless, the advantage of this experimentation is that when listened to on repeat, the closing title track bleeds into “Soothsayer” flawlessly by way of royal strings and daunting piano, thus increasing the overall cohesion of the album.
Have no fear, clearly Abhorrent Decimation is not about to abandon their origins of being a death metal band who create a dramatic racket of howling vocals and scabrous instrumentation. The second half of this album is noticeably stronger than the first. Although “Granted Indulgence” features explosively blunt riffs and establishes the harrowing atmospheric direction of the band, songs further down the track-listing such as “Conspire” and “A Scythe in the Dark” amplify the relentlessness of the jagged riffs and disorientating drumming considerably more than the preceding songs. Encompassing everything the album represents is “A Glass Coffin Burial”. It’s unceasing pace rough riffing wastes none of its short duration but the band even manages to progress the song by wedging a towering melodic solo in the mix.
As impressive as this album is, on a large scale, nothing new is presented here. Bands such as Decapitated and The Black Dahlia Murder succeed in creating relentless technical death metal with enough atmospheric progression to advance the genre. Furthermore, Ashley Scott’s vocals never really altar in a way that could enhance his band’s chaotic nature. However, in just two years,
“The Pardoner” reveals Abhorrent Decimation undertaking a huge development from their debut album in terms of daring, dynamism and cohesion, and that’s something a lot of seasoned bands can certainly learn from.
