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kev rowland
Honorary Reviewer
4 stars This is the sixth album from Aborym, and has been released as a double CD. Formed in 1992 by frontman Fabban, Aborym started life as a covers band and went through several transformations, eventually pioneering what the band calls 'hard-industrial-electro extreme metal'. Today's line-up consists of Italians Fabban on vocals, bass and synths and Paolo Pieri (Hour Of Penance) on guitars, keyboards and programming, together with Norway's Bard 'Faust' Eithun (Blood Tsunami, Mongo Ninja, ex-Emperor) on drums. When I first put this album on the player the temperature dropped (I honestly felt physically colder as the music went on), and I was transported to the middle of a Norwegian wood in Winter, watching a pitched battle between Rammstein, Throbbing Gristle, Children of Bodom and Napalm Death with no clear idea of who was going to win.

Various words came to mind as I played this, including 'intense' and 'bleak'. Somehow these guys are expert at conjuring up a post apocalyptic vision in sound, and the result is an extreme version of black metal that has more than a nod to both industrial and grindcore. It is a very draining album to listen to due to the sheer intensity and power of what is taking place, yet the listener feels compelled to play it all the way through to the end without taking a break, although it is almost a relief when the music stops. I found some of the cover versions on the second CD really interesting, particularly Maiden's 'Hallowed Be Thy Name' and Floyd's 'Comfortably Numb'. The first has been deconstructed and has way more keyboards that one could imagine, while the second is virtually straight and is at total odds with the rest of the album.

This is not an easy album to listen to, and many will want to discard it out of hand completely, but if you want cutting edge extreme metal then this is one of the most incredible things I have ever come across. For more details visit

Report this review (#977518)
Posted Friday, June 14, 2013 | Review Permalink
Conor Fynes
3 stars 'Dirty' - Aborym (5/10)

Running parallel to an extent with Norway's Dodheimsgard, Italy's Aborym began as a fairly unassuming second-wave black metal band before taking on a more experimental and avant-garde approach. Although they might be best known for Mayhem and Tormentor vocalist Atila Csihar's tenure with the band, Aborym have adopted a pretty interesting and unique stance in the black metal realm at large. Industrial black metal has long been Aborym's calling, and unlike other bands who have dared to marry the two genres, Aborym have taken great care to blend the two with care and consideration. Aborym's sixth album, "Dirty", is appropriately named; it is decadent, hedonistic, and rotten to the core. The style has potential, and much of Aborym's material here is enjoyable on a surface level, but with the band's obsessive determination to forge a dense and distinctly industrial style, the songwriting and execution come up short. There is potential here, but it may have sounded better on paper.

If there's one thing Aborym has excelled in with "Dirty", it's the way they've seamlessly blended industrial and EDM music with black metal. As far as my own listening history and taste is concerned, this fusion of styles has assumed a form in bands like Blut Aus Nord and The Axis of Perdition, bands that, while making ample use of industrial music's timbre and cold aesthetic, scarcely translated into music that might appeal to industrial music fans. Instead, it was almost always black metal itself that was highlighted, and even then, the genre's elements would be often contorted with jarring experimentation and additional influence from other styles. By contrast, Aborym's style bridges the black metal and industrial styles with greater equality and due reverence paid to the latter. Although it's still right to file Aborym first under 'metal', "Dirty" integrates their industrial influences so deeply that the metal elements are forced to play a democratic role, often cautiously navigating around the electronic noise. The songwriting also presents a major departure from the black metal standard- many of the tracks here are driven by upbeat rhythms, some to the point of even being considered 'danceable'. Although Aborym recall plenty of black metal conventions in tandem with this industrial element, the style on "Dirty" reminds me a lot more of Marilyn Manson than Blut Aus Nord. It's admittedly not a style or sound I have found myself inclined towards before or after hearing this album, but it's at least refreshing to hear a fusion of genres unfold in a manner I'm not wholly familiar with.

Thankfully when it comes to their noise and electronic ingredients, Aborym are plenty inventive. In particular, "Across the Universe" makes excellent use of the style, cranking up a surprisingly catchy set of electronic ideas along with the expected assortment of riffs. "The Day the Sun Stopped Shining" is another highlight, giving listeners a taste of a slightly more reserved and melodic sound before the album closes. Aborym's industrial element enjoys a much-welcome presence in the mix, with the synthesizers packing just as much of a sonic punch as the guitars and drums. Unfortunately, as successful and refined as Aborym have made this stylistic fusion, they have failed to keep things interesting on the home front, that being the metal itself. It's as if Aborym got too caught up in perfecting their industrial craft that they forgot to pay attention to the other half. Although there are plenty of electronic sections that linger in the listener's mind after the album finishes, I don't think there's a single guitar riff on the album that dares to be unique or memorable. If the riffs aren't blandly recalling the done-to-death tremolo picking tricks and bland chord arrangements of black metal long-past, the riffs often default on uninventive chugging and rhythmic accompaniment. To compound the problem, the 'dirty' production pays no consideration to the guitars, which are left sounding sterile and samey. Add some lukewarm vocals to the melting pot, and "Dirty" is left an album that seems to have put all of its good eggs in one mechanical, synthesized basket.

Although Aborym have found an interesting style with potential aplenty to excite and disturb, "Dirty" ultimately comes off as a fairly mediocre collection of songs with far more flash than thunder."Across the Universe" stands out a head above for its dark atmosphere and superb electronics, but for the rest of the album, I'm typically left bored and underwhelmed.

Report this review (#1065251)
Posted Wednesday, October 23, 2013 | Review Permalink
Honorary Collaborator
3 stars "Dirty" is the 6th full-length studio album by Italian black metal act Aborym. The album was released through Agonia Records in May 2013. Itīs the follow up to the bandīs 2010 album "Psychogrotesque". Aborym have been through quite an interesting development in sound and personel through the years, and if anyone thought the band had settled with the release of "Generator (2006)" and "Psychogrotesque (2010)", which feature a relatively similar musical approach, they will be surprised by the direction Aborym take on "Dirty".

The music is still quite adventurous (which is also the case on the two direct predecessors) and you can definitely defend calling the music style on the album progressive black metal, even though the music isnīt overtly complex in structure and the playing is not technically focused as a stylistic element. This is still technically well played music though, featuring both blastbeats and a host of other tempi. The big difference between "Dirty" and the two predecessors is how much Aborym embrace industrial and goth elements on this album. An act like Nine Inch Nails come to mind at various times on the album. The clean vocals on the album provide the album with the goth touch (Iīm sometimes reminded of how Kreator sounded on "Endorama (1999)"). There are actually a surprisingly large amount of clean vocal sections on "Dirty" even though Malfeitor Fabban also snarl away in his usual black metal type delivery. The music features an omnipresence of keyboards/synths and even the occasional use of electronic beats (take a listen to "Helter Skelter Youth") and in that respect the sound on "Dirty" harks back to the bandīs early album releases.

"Dirty" is a well produced and powerful sounding album. Itīs the kind of album where youīll find new details with each new listen. To my ears itīs quite a bold move to release an album like this. I think itīll be a fan base divider, but itīs certainly proof that Aborym havenīt stagnated. Personally I think the result is somewhat a mixed bag, that doesnīt quite live up to the high quality of the two predecessors, but "Dirty" is the kind of album that you might listen to in 10 years and have a different opinion about. Therefore my 3.5 star (70%) rating is not set in stone.

Report this review (#1134744)
Posted Friday, February 21, 2014 | Review Permalink

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