A variant on one of the original thematic origins of death metal, the Deathstrike-Master-Abomination style of thrash-like Chicago death metal.

Nuclear Blast
Production: Echoes of a cavernous garage insulated with fuzzy orange carpet.

Review: Metal as it moved from heavy and speed variants to the thrash-influenced death metal involved the integration of rigid hardcore violence with structural riffs derived from gothic aspects of heavy metal; as part of this movement, a variation of other project bands such as Deathstrike or Master, Abomination blend the atmospheric riffing of extreme punk with the choruses and bridges of metallic centrality.

Using a more refined fusion of hardcore and metal in a method of direct tone-centric riffs in the slower hardcore strumming or metal single strike strumming. Like a giant shifting from foot to foot, this metal makes the room oscillate with the disturbance of sound traversing it.


1. The choice
2. Murder, rape, pillage and burn
3. Reformation
4. Redeem deny
5. Possession
6. Suicidal Dreams
7. Life and death
8. Victim of the future
9. Tunnel of damnation
10. Follower
11. Impending doom
Length: 48:10

Copyright © 1990 Nuclear Blast

Like most 1980s hardcore bands, Abomination uses the "ambient" or "atmospheric" punk riff, a melodic phrase line concluding abruptly in a prolonged resolution to center each riff and create a mesmerizing effect on the listener. Vocals are shouted with a gutteral frosting on them as they urge transitions using thrash-style conveyances, shifting directly from a riff to a new thematic riff that becomes understandable as continuous only after its transfer via the context of vocal harmony.

Epic noise of not only bassic sound wave conditioning but also chaotic corruptions of continuity with battering rhythm, this album also disturbs harmony with dry throat low-end vocals grinding out an ongoing mental diatribe against the insanity of society, control, religion, laws. Lead guitars are both inspirational and throwaway, consisting mostly of the "enlightened noodling" technique perfected by Trey Azagthoth on Abominations of Desolation, but are sparsely used.

The continuity of one set of charging violent riffs against another makes for open-ended looping structures resembling more grindcore than death metal but if beset by anything under the skin of another genre, it is a metal heart in the solidity and logical absolutism of the riffs that sign off on all other riffs in the song: it is a theme above all other which signals a call to the certainty of nothingness.

BLACK   |   DEATH   |   HEAVY   |   SPEED   |   THRASH   |   GRINDCORE

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