Finnish layman metallers return with their fourth self-released full length album 'Amid Adversities'. I'm calling them that way, because they don't play any gigs, nor want to join a record label, not because they cannot play or make music. Anyway, after quite a strong predecessor 'Replenish Entirety' (2010), the band have changed their course back to a bit rougher style.

So, the trio have returned to more thrashing sound with this release. Their version of progressive thrash metal is getting more and more characteristic with these seven songs. Jouni Koskela (growls, guitars, programming) is the main composer (one song was written with bassist Antti Jylhä). 'Recollection of a Reality' starts the album with invitating female vocals and Devin Townsend-ish modern-cum-pop metal (big synths, huge guitar walls, you know the thing). 'These Words Are My Woes' and 'Scarred in Subliminal Slumber' are somewhat Soilworkish (hey, Mr. Townsend also worked with that Swedish band, and their synth arrangements), if in a way more thrashing, and with tempo changes reminding me of Stam1na, plus pop catchiness happens here, too, among all technicality. Anyways, Abysmalia manage to maintain their identity. 'From a Sanguine Heart' is a slower song, where dark metal and proggy things meet with pop catchiness. It's not quite as catchy as Nevermore's classic 'The Heart Collector', but... 'Endeavors Inane' return to more aggressive atmospheres again. 'The Mothers of Sons' is on the other hand, a calm song on, and you can add Dream Theater style softness in Abysmalia's repertoire, but it also has a darker side. The closer 'Departure 58' is another tougher one.

The song writing is not about typical rock arrangements, but far more free-form embodiment. This is a concept album, but there are no lyrics available, I presume. So it, in a way, make this quite hard to follow. The themes stay in a single song, so the songs are clear items. But at some listenings I have a bit different insight to it. For a long time, this album will offer new discoveries to a listener. One thing was imminently clear when I spinned this for the first time; surely this album won't lead Abysmalia to adversity. Points for sounding characteristic, even though some, if quite retome, similarities to all aforementioned bands can be noticed. The bass, I think, is fretless, the beats are varying and nothing too straight. The synth work is "mat" like or jingles/beeps. The vocals are diverse; good throat-ripping growls meet good clean singing (by Marko Nikula), the later being generally better than usually on this kind of endeavors. Lars Eikind from Before The Dawn guests on 'The Mothers of Sons'.

Very professionally done production is home-made, which is a hard fact to believe. It does not loose a bit to expensive hi-tech studios' productions. It is not too machiney, but not organic either. Not even with programmed drums! Very modern, shall therefore be a good description. Travis Smith-esque cover artwork is okay, but looks like a slight rip-off.

Those who like modern-sounding progressive metal with emphasis on thrash should look into this. Here, everything is about soul, not money. And Abysmalia's releases have one nice trait; they seem to offer new discoveries for a long time. Therefore, the score might feel too low next month...

Reviewed by Lane
03/01/2012 22:11