“Irreversible Crisis” starts the album off, and I won’t talk too long on it. I loved the creepy introduction, though in no way sets up what’s to come. The high speed industrialized hatred immediately had me comparing it to Strapping Young Lad, just faster and blacker. The additional background keyboard notes, or what sounds like it, were also a nice touch, but then the cleaner vocals kick in with a slight B-52s comparable approach, which is interesting, but I couldn’t see it lasting beyond this song.
“Across the Universe” also starts out with false promise. The Black Metal riffs sound fantastic against the strong Industrial presence, and then it just slows down to throw in clean singing. These sections are very bland, but far from bad overall, jumping back into the blistering blackened riffs that started things off. These are, hands down, the best parts of the song thanks to the incredibly creepy atmosphere it creates, but there’s more focus on the aforementioned slower section, and later technological sounding chunk that incorporates a bit of a symphonic touch that unfortunately doesn’t last. The variety here is just too much and too sudden when it shifts, and not in a positive Progressive manner, or even an Avant-Garde approach.
“Dirty” was the first song that really grabbed me from start to finish. There’s no false start, it’s consistant from beginning to end despite a sudden stop part way through that builds the music back up, and the energy is mixed with a great deal of intensity that got my heart pumping and fist pounding in the air with the desire to destroy everything and everyone nearby. I also loved the atmosphere, bringing in a truly spirit-breaking tone that shifted in and out of a technologically restrictive oppression. I was immediately reminded of some of the band’s earlier material, which in no way is a bad thing given their recent efforts and how much I disliked Psychogrotesque. It saddened me when it ended, and I immediately hit the previous track button to experience the pounding assault once more before taking another step further.
“Bleedthrough” showed far less intensity, but that technological oppression showed up once more inside a far more dismal wasteland environment. There’s a slower pace here with some of the stronger Black Metal material being a catchy mid-tempo second generation. While not too unique or, even matching the intensity of the previous tracks, it definitely is a lot darker, and still a solid cut that didn’t leave me disappointed. I hoped this would stay consistant through the rest of the album.
Despite the title, “Raped by Daddy” is easily the best track off this entire album. There is a subtle melody to the early Black Metal material here, reminiscent of Emperor< or even the ritualistic style of Inquisition. Again, the music is mostly mid-tempo, and like “Bleedthrough” it stops suddenly part way through to slow things down, but this time for a more Ambient and astral tone that leaves you drifting among the cosmos. In fact, it’s actually quite beautiful and wound up playing with my emotions to the point where I choked back a tear, coming out of it as it ended with the moans of a woman in the throes of passion, or some kind of similar physical or carnal delight. I was honesty let down that this wasn’t placed as the final track, as it closes with the perfect conclusion to any album of this style. But, in a way, it does act as the climax to the most impressive back to back songs that kept the consistancy going.
Sadly, the album continues, and you get “I Don’t Know,” which honestly is the perfect title since I still don’t know what the hell I was listening to. The best way to explain it is to ask you to picture the most radio friendly Cradle of Filth song you can think of, and add in some Rock with a very suitable guitar solo that’s actually done well, and legitimate clean singing, not like what appeared on “Irreversible Crisis.” Honestly, I hated this song, and after going back and listening to it a few more times to give it a chance, thinking maybe it wold grow on me, it only pissed me off worse, even making me physically sick. Of course, this is the last song I got to hear for now, but the first minute I heard of “The Factory of Death” didn’t leave me too hopeful either.
There’s no doubt Aborym hasn’t been living up to their first few albums, being on a downward spiral with some fans with nearly every new release. This was actually crucial to me because, knowing disc one is all new material, it played a role in how I feel looking back at what I heard. After only six songs, Dirty didn’t seem like this was an album for the fans, but rather for the benefit of the band and their future. I felt like a member of a test group, being asked what I liked best and least, as if the band were asking me what direction of the many here would be an acceptable path for them to go. So far, this is a literal mixed bag, as if finding the most delicious set of jelly beans from a specific company, and finding the earwax flavor more times than you dared to even count. Not sure if I would suggest the album just yet, but there’s a good few songs I clearly would say fans need to hear just off of disc one. And no, I do not have disc two, but hopefully I will at some point. For now, I’ll be pushing this one aside for another week or two, giving it time, and diving in again for my review when I’m a little refreshed.