Under The Radar — Antediluvian And Abyssal


In this week’s Under The Radar we’re going to get down and dirty the death metal way. Antediluvian are another Canadian band churning out some disgusting music and England’s Abyssal are a bit more polished, but still as inaccessible to many ears. Wipe the dirt off yourselves and see just what makes these two bands so fantastically filthy.

Antediluvian, λόγος (Logos)

Canada has been producing some of the murkiest forms of death metal, black metal, and hybrids of both that lean more on one side or the other. Antediluvian caused quite a stir two years ago with their debut album Through the Cervix of Hawaah. Like fellow countrymen Mitochondrion and Thantifaxath, Antediluvian have absolutely no interest in cleaning up their act. Instead, they have served up what might be the swampiest release I have ever heard that doesn’t suck.

λόγος is a sonic mess in all the right ways. The drums are nearly inaudible aside from the kick drum and snare. A ride cymbal and crash can be distinguished at times, but you have to listen for it. The guitars take on a demented idolization of Incantation’s first two albums, as if those riffs weren’t cavernous enough already. As far as the songs go, they are mostly interchangeable.

This album isn’t about humming your favorite guitar licks after you listen; it’s about descending to Hell via swamp and re-emerging covered in muck 34 minutes later.

Abyssal, Novit Enim Dominus Qui Sunt Eius

Novit Enim Dominus Qui Sunt Eius

Novit Enim Dominus Qui Sunt Eius, or Abyssal’s second album as I like to call it, is an expansive release totaling nearly an hour.

The band spews forth a delightfully fucked up atmosphere, chugging, blasting, and droning their way through their new self-released album. Never content for more than 10 seconds it seems, Abyssal display their versatile guitar chops to craft ever-changing riffs that are like high tide in a storm with waves violently crashing ashore and quickly receding, dragging bodies back to the ocean with it.

The production value on Novit Enim Dominus Qui Sunt Eius is polished in a way that allows the listener to clearly hear everything in the mix, yet still retains that dirty, unwashed feeling. The guitar tone is massive and all-encompassing, suffocating and intelligible.

Whether it’s the brief tracks like “The Headless Serpent” and “A Sheath of Deceit” or the longer “Under The Wretched Sun Of Hattin” and the monolithic instrumental “Created Sick; Commanded To Be Well,” Abyssal will bombard you with some of this year’s finest death/black metal.

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