Curse - Void Above, Abyss Below

Curse unleash their third album, 'Void Above, Abyss Below,' to fans and gives forth a mix hyper-energy black metal along with some slower, more hypnotic pieces. The album starts out a bit one sided- furious straight through all the first five tracks with the buzz saw riffs, tremolo picking, and static soaked atmosphere amongst shrieking vocals. One could compare this to Leviathan's full blown heavier work without any slower or ambient parts, with some punk influences mixed in (just listen to the solo from "Desecrating The Divine Trinity"). Other tracks like "Infernal Visions" just blast through with a bit of a muddled sound because everything is so chaotic, but the drums are one of the few things that stnd out loud and clear. They are fast, but have a special 'clunk' sound to them so listeners can hear the varied beats so they know it's not just a drum machinr doing the work.

"I'm The Dead Guy" suddenly changes pace as everything just decides to slow down and drag out with the guitar tones. It is like the band suddenly decided to go with depressive black metal, and this is where fans will get to see the other side of Curse. It's creepy, raw, and just as powerful as the heavier tracks, while allowing the guitars to shine more than just the drums earlier. The atmosphere is still very choatic though so don't expect a sudden change in clear production. Other tracks like "Painting The Devil On The Wall" brings up the keyboards for a bit of a folkish influence and the pace of the music is more even, yet still rhythmic, much like a Glorior Beli track; lately the band has turned towards a more bluesy kind of black metal than their avant garde chaotic earlier works in the vein of Deathspell Omega. The keyboards really give it an organic feel though to the track overall that is different from the sonic fury that is heard earlier. It is possible that the keyboard is present on other tracks, but on "Painting..." it is easily distinguishable.

"Hour Of The Skull" is more punk black metal influence and again shifts the sound focus; this time it is on the vocals. Overall fans may find this track the hardest to digest because it sounds so unorthodox with the multiple guitar pauses and the vocals just snarling alone with the drums kind of faded in the background; not typical black metal and it seems kind of torn where it belongs. Experimentalists will surely appreciate it, just as much as the final track "Priests Of The Underworld" which is the 'ambiant' track of the album. Low, dissonant, and very slow with darkened overtones, it lumbers along with the keyboards drenching it in depression along with the vocals while shadowing the drums that are silent during the 'quiet moments.' It is a good closer to the album and finishes rounding out Curse's sound. Fans of darkness and depravity on all levels of black metal will certainly find this appealing.

  1. Desecrating The Divine Trinity
  2. Void Above, Abyss Below
  3. The Mad Shepherd
  4. Infernal Visions
  5. I'm The Dead Guy
  6. Red Is The Deepest Black
  7. Painting The Devil On The Wall
  8. Hour Of The Skull
  9. Priests Of The Underworld

Reviewer: Colin McNamara
May 28, 2011

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