Abigor Supreme Immortal Art (Instrumental 1997)

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coverThis is not an official release by Abigor and is more of a gracious bootleg offered as a gift to the few enthusiasts of guitar that would be interested in a closer study of this baroque and theatrical approach to guitar parts construction.  Not only is most of it stripped of most of the keyboards that constituted the whole of the front most layer of the original release, but no the corresponding vocal recording is removed.  On top of that, it would appear as if the production found here is left a little more raw, although the author cannot ensure it is truly as he thinks.

Without the rest of the layers the impression of the whole is far more identifiable as a Satanic black metal affair, boasting of grand gestures of explosive grandeur interleaved with maniacal lurches befitting one who is imbued with the essence of a dark intelligence.  Nor are the more bitter sweet passages that represent the sensually pleasurable sides to a diabolism under the sign of the moon missing from here.  These three sentiments divide and classify the basic communication units used by Abigor before the turn of the century.

In this presentation, the guitars can be felt coiling around the subtle body of he who actually listens, instilling ecstasy as scales rub skin and hiss whispers in ear.  Here is also a flamboyantly evil meeting of a literal Baroque instrumentality and a black metal sensibility and spirit. The lessons that can be learned from this, perhaps Abigor’s most accomplished guitar work, contain a lesson in variation and shock within cohesion under the umbrella of a unitary but complex atmosphere.

This work can be said to work through a succession of episodes which do not rely on shock itself, but on the aural impressions which connect one with the next.  In this way, we could state that it is the closest we can find to the death metal riff salad when used in a focused manner, such as we can appreciate in Timeghoul’s admirable work.  The theatrical is always a double sided blade which can easily sunder apart the efforts made by the band to project mental pictures, but when wielded appropriately, having two edges to cut with just makes it more effective.  This metallic deadliness is precisely what we can hear in the evocative interplay of the two guitars with the technically proactive drums that make the very center of Abigor.

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