Finnish band The Abbey offers a blend of Doom and Progressive Rock/Metal sounds. The debut album “Word Of Sin” was released on February 17, 2023 via Season Of Mist and contains 9 tracks ranging from 2 to over 12 minutes in length. The opening track “Rat King” immediately immerses us in the musical atmosphere of the record, presenting heavy riffs and a Prog and Doom imprinting with Gothic traits. Choral singing adds an occult touch to the sound, while the sound builds on a granitic rhythm section and massive guitar riffs. In the second part the guitar offersa good solo insert, and then with a change the rhythm section accelerates and leads us to the finale in a musical crescendo. Gloomy atmospheres permeate the first notes of “A Thousand Dead Witches” a track that builds on continuous tempo changes. Excellent guitar work, offering heavy, well-constructed riffs, while the rhythm section alternates between engaging passages and tempo changes that take the sound into Metal territory between Doom and Prog. The vocals are dynamic and epsressive, alternating solo and choral parts, while the guitar offers technical and at times virtuoso solo inserts. Skillful the band switches from more delicate moments to others where it unleashes all its power, making the sound very personal and original. In the second half the more Doom side of the band dominates the scene with a solemn atmosphere in the sound. “Crystallion” opens with a distorted guitar arpeggio and a deep, piercing vocal. After an introductory first part, the song evolves with a powerful rhythm section that moves slowly as the guitar offers interweaving riffs and elaborate arpeggios. The addition of keyboards, which tie in perfectly with the guitars, and the restless atmosphere of the song show the more doom and dark side of the band’s sound. In the middle part with a change the sounds become more positive, incorporating elements of Progressive, which accompanies us to the finale with excellent guitar and keyboard interlacing. A Symphonic intro characterizes “Starless,” then incorporates distorted guitar riffs and a solid rhythm section. Female vocals and deep, enveloping sounds give an esoteric feel to the music, again with that Symphonic background accompanying us throughout the song. In the middle part the guitar offers good work, while the intensity increases as the minutes go by, ending in the final part with the utmost sung stanzas and a valuable chiatarra solo. More drawn out and with a more metal imprint “Desert Temple” is an energetic and engaging track. The guitar riffs trace classic Doom sounds, while the tempo changes allow it to speed up and incorporate more modern elements with melodic traits. With continuous tempo changes, in the middle part the band develops a markedly Prog trumental section with the guitar as the protagonist, as well as vocal developments. Returning to the more accelerated and Heavy sonorities of the first part, the track accompanies us to the closing in a constant musical crescendo. A solemn choral vocal interweaves with guitar aropeggios and begins “Widow’s Will” characterized by fine guitar work. Gothic traits merge with the band’s Prog and Doom sounds, with extensive use of vocals that interpolate the lyrics with intensity. In the finale there is room for a brief solo guitar insert. “Queen of Pain” opens with dark, distorted guitar riffs, while the gritty rhythm section punctuates the tempo. The vocal, which alternates between solo passages and choral openings, has a distinctly Doom imprint, piercing and restless. Between tempo changes and the interweaving of sung parts With instrumental sections, the track mixes Doom with occult and Progressive traits, with mystical atmospheres and fine guitar and keyboard interlacing. The album ends with “Old Ones” divided into an introductory prequel with a solemn spoken vocal. At over 12 minutes long, this epic track incorporates all the musical elements that characterise the band’s sound. In the first part, the rhythm moves slowly, while the atmospheres are dark and the sounds deep, to which a choral vocal is added. The intensity increases as the minutes go by, with a large section in the middle with the organ adding a mystical touch to the sound. In the finale we return to the distorted guitar riffs, the rhythm section is solid and granitic, while the choral parts characterise the vocal. An excellent conclusion to this work, which leaves us wanting to listen to this good record again in the future. A band that delivers a good debut, incorporating elements of Doom and Progressive Metal with a Gothic twist. The sounds are a mix of classic and modern, the common thread being the band’s personal and original traits. The tracklist is varied and intense from beginning to end, succeeding in enhancing the band’s musical proposal. A recommended listen for all lovers of Doom sounds with marked Progressive influences, combining Heavy Traits and a Gothic touch.
Tracklist
01. Rat King (04:42)
02. A Thousand Dead Witches (04:35)
03. Crystallion (06:16)
04. Starless (07:52)
05. Desert Temple (04:31)
06. Widow’s Will (04:23)
07. Queen of Pain (05:21)
08. Old Ones: Prequel (02:33)
09. Old Ones (12:45)
Lineup
Jesse Heikkinen / Guitar, Keyboard, Percussions, Vocals
Natalie Koskinen / Vocals
Janne Markus / Guitar
Vesa Ranta / Drums
Henri Arvola / Bass
2 thoughts on “[Review] The Abbey – Word of Sin”