Listening to Dirty, the new album from Italian industrial metallers Aborym, takes thoughts back to the early days of the genre when Ministry and Godflesh corrosively chewed senses and KMFDM had a true snarl to their sound. It was the time when the genre was at its purest, as generally any style is at its seeding time, and when there was a malevolence and creative spite which arguably has since dispersed over the past decade in the industrial arena. Formed in 1992 the band has continued and explored their origins, combining the essences of the genre from back then with blackened venom and extreme metal savagery. Aborym have set high standards across the years which have inspired and shaped the intent of a wealth of bands and it is with confidence that you can assume Dirty will continue that influence.
Released through Agonia Records, the sixth album from the ignites fires in the passions but as easily quells them at times too, it is an experience of mixed ideas and results but one which is thoroughly captivating and deeply intriguing from start to finish. Like their sound overall, the album unleashes a predatory expanse of what they call “hard-industrial-electro extreme metal”, an unpredictable confrontation which is lingering and at times irresistible. The trio of Fabban (vocals, bass, programming, synth), Paolo Pieri (guitars, keyboards, programming), and Bard Eithun “Faust” (drums), whose past and current invention is found in bands such as Emperor, Hour Of Penance, Mongo Ninja, and Blood Tsunami, take thoughts and senses on an intense and caustically carved journey through black hearted emotive depths and synapse challenging intrusions.
Opening track Irreversible Crisis has a tantalising beckoning to recruit thoughts from the start, its blend of sizzling metallic pulses within a scrappy blistered ambience evoking instant thoughts before the ravaging blackened charge of sonic malevolence consumes the ear. It is a viciously driven persuasion with the vocals of Fabban squalling with serpentine intensity upon the rhythmic bombardment and quarrelsome riffing. It is not long though before the industrial veins move in to shift the emphasis and creative temptation, the vocals seizing a Marilyn Manson like enticement whilst the song itself moves from a black metal like scourge through to an electro industrial wantonness. Imagine Behemoth meets Ministry and Treponen Pal before engaging with Wiseblood and The Amenta and you get an idea of this outstanding track and start.
The following Across the Universe wraps its electro arms tightly around the ear initially before slowly stretching its metal sinews and resonating breath into another intensive provocation. Clean vocals set the narrative up with potent clarity whilst the melodic teasing of the song inspires thoughts before being drenched in a squall of blackened toxin. Though not as immediate in its persuasion as its predecessor, the song is a riveting sonic travelogue through rapacious and magnetic scenery which reveals and persuades more with each subsequent course.
Next up the title track is a filth clad tsunami of nastiness, its erosive breath working silently behind the violent hunger and insidious exploits created by the venomous maelstrom elsewhere. It is the brink of the abyss, its industrially sculpted ferocity a virulently contagious assault with an intensity and energy which is hellacious at best and primal destruction at its most rabid.
Both the scintillating Bleedthrough, a track which infuses a storm of blackened carnivalesque like sounds, diverse essences, and exhausting emotive warfare, and the nightmare that is Raped by Daddy, continue to keep the album on the highest plateau. The second of the two breeds its deepest agonies through a magnetic mesh of extreme and electro metal, rhythms chewing on bone whilst the sonic acid scars beside a seductive electronic coaxing. Once at the heart of its distress there is a bottomless pit of emotive torment impacting on every sense, thought, and emotion, making for an experience which is lingering and explosive.
From this point on things do not find the same potency and draw as the first half of the album, though songs like I Don’t Know, even with its dodgy clean vocals at one point, The Factory of Death and closing song The Day the Sun Stopped Shining never find less than full involvement from the mind and attention from the ear for their still inventive and expressive enterprise. Amongst them one more pinnacle does shine through. Helter Skelter Youth is a schizophrenic fire of industrial, avant-garde, and electro devilment, an insatiable fury upon the listener with a thrilling body of epidemically infectious invention.
Though not holding on to its full triumph across all its length Dirty is an outstanding album which feeds the appetite for the origins of industrial metal whilst refusing to neglect the experimentation and intensive adventure of the now. Also released with a second CD available only on digipack, double gatefold LP featuring covers of tracks by Iron Maiden, Pink Floyd and Nine Inch Nails, two completely re-arranged and re-recorded tracks older songs and one new track, the album is a must investigate release as a bare minimum for all fans of the genre.
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