Evoking the Abomination

The legacy of death metal is total in Brazil, the country where Sepultura came before smashing among the alternative community in USA. Most of the following metal bands in Brazil are heavily influenced by the scene's original wave in the 80's, but most of them serve as a mere reminder that imitation is not always necessarily the sincerest form of flattery. Apart of Krisiun and a few more, most of them, like Abhorrence, are remembered more for their "purist, old-school attitude" than true influence in the market. Speaking of the latter, this band was extremely short-lived, releasing a few demos and a studio album before calling quits: bassist Marcello Marzari delved into tattoo art instead, before forming a studio-only project around 2020 (Syringa Vulgaris), Rangel Arroyo was briefly a member of Impiety, and the other two simply faded into obscurity.

Clocking barely 28 minutes, the band's only studio album, Evoking the Abomination, can't be even considered a full-length, but more like an EP to settle a later career that never came. Like many old-school death metal acts of their kind, all the tracks resemble themselves each other, and right from opener Abattoir, the band's sound is evidently rooted in Krisiun, Rebaelliun, Hate Eternal, early Morbid Angel and Angelcorpse, featuring faster-than-normal blast-beating, occasional tempo/dynamic changes, persistently half-muted D-tuned chromatic, droning riffing, superficial, improvised and a-melodic guitar solos and beast-like growling vocals. Echoes from older Sepultura-like material pop up occasionally, as during the second minute mark of the openerm the dumb semitone-semitone-semitone fret twists on Storming Warfare or the second riff of Abhorrer Existence.

Production sounds like a work straight off from 1993 with out-of-place drumming. Guitars are buzzy and sulphur-like, featuring plenty of mid-range peaks that sound like surely recorded through an amplifier, the bass is an afterthought, vocals are down in the mix and with very few volume boost (save for some shrieking overdubs) and the drumming features unnerving, over-compressed bass-drum tick-like quality that seems the only thing produced through a digital workstation: it makes the whole package un-authentic, disproving the possibility that the material may have truly been recorded in a non-professional recording studio and wiping away most of the "purist" edge. I don't know you, but the drums' production is a heavy drag.

Not enough lenghty to be qualified as a major album, not varied at all and coming too late to have a forerunner-like quality (by the time of its release, other genres in Brazil were going far stronger), Evoking the Abomination is a very mixed bag which has no true means of substance except for a supposed attempt at old-school attitude that alone doesn't bring musicality, and isn't even that prominent, due to the production errors cited above. I admit that "traditional" death metal has never been my stuff, but even when compared to contemporary releases by cited bands, this one doesn't distinguishes itself at all. Best advised for fanatics of the sound, rather than casual old-schoolers.

This album has everything I could ever ask for in death metal, at least in its own sphere of existence. It is always tempting to tirelessly compare Abhorrence to fellow countymen Krisiun but inevitably, the two share one thing in common; unrelenting brutality. There is not one moment in this record where you can breathe easy. Everything is precisely welded shut in its place like one giant cube made of inches-thick steel that will be dropped into a volcano raging with magma.

From the very first track, you know you are in for some serious beatings perpetrated by Abhorrence. Thin, crispy production ties each instrument together, including the monstrous vocals. Such an approach provides overwhelming clarity while lacking seriously in depth. While the guitars are sweeping through like Hitler’s unrealized giant battle tank on already-barren battlefield littered with rotten corpses, the bass is equivalent to the thick black smoke at the end of the tank’s exhaust pipe. We know it is there but its purpose and presence mean nothing in the end.

While the record is so packed full of pure death metal madness at the level of speed the band is playing, there is no doubt that they might have forgotten the significance of bass guitar in metal. The overall music is hellishly violent beyond imagination and you have to listen to believe. This is like Brazil’s version of Infernal War meets Deicide, throw in some shredfest ala ‘Exterminate’-era Angelcorpse while letting Trey Azagthoth finish the job, you get this record.

Simply said, all tracks on this album slay. There is not a single moment of letdown, ever. The drums are as maniacal as you would expect, with outrageous amount of fills you could’ve sworn the drum kits are no more. While it is difficult to choose a standout track, “Storming Warfare” is a perfect example of textbook death metal done right the Brazilian way. The solos are faster than the blood gushing from the beheaded victims of ISIS. It is a wonder that the band members didn’t wreck their respective instruments after recording the album because the whole record sounds like a maglev doing a trillion mile an hour! It’s even amazing that they managed to survive the onslaught at the first place.

It’s been quite some times since Abhorrence debut was first released onto the unsuspecting masses. The only release from 2008 is the split with Singapore’s Asian and arrogant warlords Impiety. It is 2015 now and we have yet heard of any hint of intense sophomore to follow up with the band’s shining effort ‘Evoking the Abomination.’ What’s even more awesome is the fact that the album is recorded by three people but the finished product sounds as if another axeman is present to chop more heads.

Nevertheless, it is not that surprising the album sounds this way given the fact that Erik Rutan and Gene Palubicki are the ones behind the mixing consoles. It is quite sterile and dry as drought. Fortunately, it’s the musicianship and song writing that save the day. I can’t wait to get another dose of unhinged violence from these guys as I have no doubt in their ability, competence and performance. I believe that they are just as consistent as the music that they are writing on this debut; no compromise, no breathing room, just unrelenting assault on the senses.

Abhorrence is a brutal death metal band from Brazil. However, while the obvious conclusion every reader of that statement is indeed correct, that they are hugely similar to Krisiun, I have to say, that the musical results and overall presentation created by Abhorrence tops Krisiun. These guys have assumed the reign abdicated by Krisiun that begun with the release of Ageless Venomous, which was a good album marred by bad production, and indicative of a major shift in Krisiun's sound. Thats not to say their current work is BAD, its just different. And for all those who mourn the death of old Krisiun, Abhorrence come sweeping in as The Savior of all things hyperblast.

The sound is what you will expect: lots of insanely fast blast beats, speedy double bass grooves, and hurricane-force lava solos (Trey Azagthoth's unique terminology for the chaos he conjures from his guitar). There aren't many slower mid-paced grooves, its pretty much all blitzkrieg, all the time. However, Abhorrence does something that Krisiun never really seemed to figure out: how to effectively inject variety and character into a musical landscape dominated by such a single-minded technique (blast beats and double bass grooves).

Here we learn of Abhorrence's other primary influence: Morbid Angel. The cool thing here, though, is that they don't sound like Morbid Angel. Rather, they take their characteristic rythmic lurching and herky-jerkiness and use that to spice up their blast beat segments. It makes for a lot of cool, memorable grooves that would otherwise be very boring.


Production-wise, the album is great, for the style of music that Abhorrence plays. Its a 'light' sound, if that makes sense. Everything is clear and presence and has body, but is not bogged down by excessive low end. Its just heavy enough so that when the band relents from blasting, you can feel the heaviness when the guitarists palm-mute and play thrash riffs, but it doesn't overwhelm the overall atmosphere. Tone-wise, they're more towards the scooped-mid sound of Suffocation's "Pierced From Within" and Deicide's s/t album. And, strangely, I detect a hint of the signature Swedish honky-ness of the Boss HM-2 Heavy Metal distortion pedal, brought to world-wide fame by Entombed, Dismember, Bloodbath, Interment, etc.

The main problem with the guitars, though, is the scooped-mid aspect: they mesh with the hi-hat and crash cymbals to create a big wash of sound. This could have been a deliberate action, but thats the problem with removing midrange from a guitars EQ; mids are the only thing the human ear can really hear when combined with the lower frequencies of bass guitars and kick drums, and the hi-end hiss of hi-hats and other cymbals. This is why Slayer and Morbid Angel records sound so good: they actually pump the mids up a little bit. It allows the guitar to really stand out as its own entity within the mix, letting each instrument to be heard separately and allowing them to breathe together to create a cohesive overall mixture of sounds.

Aside from the guitars, the main sonic feature here, however, is the kick drums. They sort of dominate the mix, and are quite up-front. They are triggered, but not annoying. The mix is so deep and murky that in order for them to be discerned at all, amidst the rip-snorting speed and blazing attack of this band's music, they kind of have to be triggered, otherwise it would be completely lost and would result in a horrible mix. The snare is a little bit buried in the mix, being drowned out slightly by the hiss of the hi-hat and cymbals, but you can hear it.


Overall, though, the sound is great. I took away a point because of the final mix; the guitars should have had a little mid-range pumped into them to allow the drums to come out more as an individual instrument. As it is now, they kind of mesh with the cymbals and hi-hats to form a sort of blanket over the mix. Its not harsh or oppressive, and does not detract from the music, but I just think it would have been a prudent decision on the producer/engineer's end to help make the record sound just that much better.


This album is fantastic, though. If you love speed, blast beats, deep vocals, crazy guitar, and an overall sense of evil and foreboding, you have to pick this up. Krisiun was a pioneering band, and I like their material, but I find myself coming back to this album way, way, way more than any Krisiun album. Its just a shame these guys have had so many personal problems, keeping them from putting out anything other than a couple splits following this release. They could totally become a huge force in the underground, and rightly deserve to rise to fame. They inject a unique sense of character and identity into a style that is so easily mired in mediocrity, blandness, unoriginality, and continually rehashed ideas.

Some people would suggest that it is lazy to review a band simply by name dropping the band or bands they sound like. But with "Evoking The Abomination" from Brazilian death metal squad Abhorrence, their influence is just so obvious it practically forces you to invoke the name of their fellow country men Krisiun (and the most aggressive tendencies of Morbid Angel who are an obvious influence on Krisiun as well). The drum rhythms and the guitar riffs are eerily similar and if you didn't know better, you'd think this was a lost Krisiun album.

Not that this is a bad thing. This album crushes from beginning to end. Although I think Krisiun have a few stronger songs, I actually prefer "Evoking The Abomination" to any individual Krisiun album I've heard. It's like being adrift in a chaotic sea of death metal, pummeling you with wave after wave of rolling double bass blast beats while the storms of Trey Azagthoth inspired guitar riffs whip around you. Quite fantastic.

I've had this CD for 9 years and I have pulled it out more often than most other CD's in my collection that are in this same style, and the most recent listen is what inspired this review. I think it has more than stood the test of time, and would be a great find for any fan of brutal and somewhat chaotically technical death metal.

Holy Hell! What umpteenth surprise from fucking Brazil! This is pure old Krisiun style death metal! I adore it…it’s no compromise, total blast beats violence and malignant riffing. Since that glorious “Black Force Domain”, put out in 1995, the Brazilian scene has changed forever. Sarofago or Sepultura (before Chaos A.D. or Roots) were one of the heaviest things in that country, when three brothers decided to raise hell through the bestial creature called Krisiun.

From that day lots of band were fascinated by those sonorities and, taking inspiration, they released several brutal efforts. Abhorrence is one of those groups. It’s unbelievable how many things they have in common with the Kolesne brothers’ band : the riffage, the solos, the vocals and the fucking brutal way of destroying the drum kit. It is very hard to mark the stand out songs here because it’s all about the sheer brutality and impact. There’s no melody concession or will to slow down a bit…even if there are parts in which the drummer doesn’t play the blast beats on the snare, you can hear he’s always total speed on the bass drum.

“Sacrificial Offering” is great with the more “opened tempo parts” at the beginning that turns immediately into blast beats. The solos are one of the most wicked things ever heard in death metal: they are a blend of hyper fast tapping parts, shreds and single notes on a furious, fast as hell scale. The rhythmic riffage is restless in putting out such evil and brutal parts.

Here you can really hear a mixture of Krisiun influences between “Black Force Domain” and “Ageless Venomous” period but with the “Apocalyptic Revelation” production. The solos are the same as Krisiun ones. I mean, this band could be a perfect Krisiun cover band! Seriously…here everything is in that style and direction and even if it could be seen as a lack of personality, I love this album. It’s evil, bestial, violent and total impact with excellent technique level; so what are you waiting for if you are into truly fast Brazilian death metal? Get it!

I'll say this first. I'm fed up of stupid lazy fucks constantly over comparing bands from a particular country against that country's most hyped/ popular bands in the same genre.
With Abhorrence being Brazilian, it shouldn't be that hard for anyone reading this to figure that I'm referring (partly) to near enough every Brazilian DM band being compared to Krisiun.

You don't see the likes of Kataklysm being compared to Cryptopsy or for want of a better secondary analogy, The Berzerker to Psycroptic.
Just because two bands come from the same country, (according to generic labelling) play similar genres of music, does not mean that comparing every band against the most popular isn't anything other than retarded & lazy.

Anyway, back to the point of reviewing this album.

Personally, as hypocritical as it might seem after what I wrote up there, I largely came to find out about the majority of Brazilian DM bands through having gotten into Krisiun and deciding to look into other bands.

While there's the likes of Nephasth and, until they split up, Rebaelliun, personally it gives you some semblance of why it's so easy for people to revert to the lazy option of comparing them to Krisiun as they peddle similarly structured songs.
Abhorrence on the other hand, at least to my opinion, don't particularly seem to care about following the rest of the crowd in terms of musical sound.

Sure, they - like pretty much any Brazilian extreme metal band probably -play 'death metal', have Satanic imagery and no doubt have big arms (in-joke re: Krisiun) but they seem to go down the more... gah, I can't particularly describe it, but where Krisiun seem to lately have gone down the 'technicality fused with razorsharp production and instinctive groove', Abhorrence seem to play death metal that could quite possibly have taken Morbid Angel's crown had it come out in the mid-90s.

I'm not saying they sound dated or 'old school' formulaeic, just that they actually buck the current trend of OTT (attempted) technicality in favour of the more true to the origins of Death Metal route of just playing as fast, sick and heavy as they can and making the best music they can.

This isn't a particularly technical, analytical or probably worthwhile review, but if you want me to sum it up for you briefly.... if you like classic death metal, buy this album.
If you want technicality, razorsharp production or other such new-fangled things, look elsewhere.

After KRISIUN stormed the world with their Unholy Brazilian Death Metal assault, the Worldwide extreme metalians pointed their sight (or should I say their ears ) to this region of the planet.
It's a fact that The Brazilian scene has to offer a lot more of interesting bands apart from KRISIUN.
ABHORRENCE is a good example of a band with great potential that deserves your attention.
After appearing in the Brazilian Assault Compilation of Relapse's Underground Series ,they signed with Evil Vengeance Records and released this majestic and blasphemic album.
This record consists of 8 tracks of furious and fast Death Metal , plenty of guitar solos like swords that rip through your flesh and machine gun blast beats and a double bass fest.
I will feature the vocals that fits the music really tight and keep you entertained during all the songs.
Yes I know that this formula is not new but this is so catchy and perfectly performed that leave you breathless and wanting for more.
This guys are berserk and handle their instruments with the precision of an evil surgeon.
This album reminds me of HATE ETERNAL 's Conquering the throne ,because it's half an hour of a blitzkrieg attack .
This was recorded in a Brazilian studio, but it is very well produced, and was mastered by Eric Rutan and Gene Palubicki, so you can expect a clear but filthy sound
I am eagerly awaiting their second effort, that seems to be delayed as this record was released in 2001, and I haven't heard any news from this band because their web page is not updated.
If you think that the last 2 albums from KRISIUN were a little disappointing , you'd better check "Evoking the abomination" .
Highly recommended.

As I said in some of my earlier reviews, Brasil is clearly taking over the thrash metal scene. While this band is pure death metal, the riffs are clearly thrash. And that's the point on which I'll concentrate. Without the vocals or drumming this would be pure Dark Angel/Slayer inspired thrash metal, with fast, non-repetetive and above all good riffs. Adding on the brutal vocals, and violent as hell drumming it does however create a death metal atmosphere. The drumming is excellent, though sometimes too much concentrated on blastbeats, and that is a bit too dominating and sometimes annoying. This guy can really play drums very good, but they are unfortunately used in a wrong way, and that's the worst part in the album, IMO.
As for the rest, I really can't have other complaints, the album pretty much makes you headbang as if you never banged before, which is achieved even more by the guitars than the drums. That's what death metal should be about.
Abbatoir starts off the album... and honestly kicks the most ass. As does the title track. And Reborn In Vengeance seems like Slayer worship, though very well made.
A fine piece of album, a thing worth getting. Straight and good death metal without too many I'll kill you and eat your guts parts(though many about destroying churches, but being ateist, I don't care ). ;)

Brazil seems to be a hotbed for brutal death metal these days.... I guess the success of Krisiun has inspired like-minded Brazilians to pick up guitars and sing the praises of brutality. Krisiun is a very good reference point for Abhorrence, since Evoking the Abomination is pretty much Krisiun worship. Shades of fellow countrymen Sepultura are also present, but for the most part Abhorrence play relentless, blast beat driven death metal.

For a second rate band, I must say this is quite good. The riffs are well planned and heavy as shit... what Abhorrence lack in originality they make up for with sheer brutality. Not to mention excellent (but not glossy) production. Track 4, Hellish Annihilation has the kind of riff that makes you want to punch somebody (not that I did...). Of course, their mind numbing pace can get old, but as mentioned before, one could do much, much worse.

So if you like bludgeoning death metal, Abhorrence does it well. Once again, not original in any way, shape, or form, but it got my head banging.