Review
Brutalism
4/5
01.12.2009

The latest album from Abstract Spirit is “Tragedy And Weeds” and it shows some real progression and a change into more high quality production and more focused song construction. The material is still total Funeral Doom but sounds more mature and the songs sound more well thought out and arranged. Like “Liquid Dimensions Change”, there is another 6 songs of depressive melodies, bleak atmosphere all played slow with the guttural growling vocals still there in check. They use the sound of sound of wind instruments to create a even more “Funeral Like Feeling” and while the style hasn’t changed much, there is certainly more to this album compared with their previous effort. This music often promotes feelings of anxiety, depression and loneliness which is the whole point behind “Funeral Doom” and this band creates the mood for those emotions very well indeed. No track stands out anymore than any other, they all reek of the same sounds and quality but “Tragedy And Weeds” beats “”Liquid Dimensions Change” hands down in my opinion. The songs are slow, i mean real slow and take a long long time to develop and build which may turn some people off the album but its worth sitting through for the pure darkness factor. The album has only 6 songs that stretch the album out to over 60 minutes but its a long harrowing process to get to the end of the album in one sitting. The vocals kill, low deep grunting is the style on show here and it fits in well with the low-end crunch of the guitar work. Perfect music for your next day of heavy rain and howling winds.

Author: ed

Review
Aristocrazia Webzine
21.12.2009

Secondo album per gli Abstract Spirit formazione russa dedita a un profondo e depressivo funeral doom.
Il debut “Liquid Dimensions Change” aveva mostrato una band valida ma ancora non in grado di mostrare il suo reale potenziale cosa che “Tragedy And Weeds” fa intravedere in maniera più netta.
Il numero delle tracce rimane identico al disco passato, anche in questo ci troveremo ad ascoltare sei veri monoliti di durata più che consistente (l’episodio più corto del disco “Funeral Waltz” dura “appena” nove minuti), si snocciolano però molto piacevolmente per la loro forma scorrevole e una dose massiccia d’atmosfere cineree fitte e quel mood tristemente pesante che sarà di buona compagnia per gli amanti dello stile.
Ci si può mmergere totalmente in giorni di pioggia battente infiniti, pensate a un cielo grigio piombo che non ha voglia di diradarsi, beh l’effetto cappa della loro musica rende bene l’idea fra ansia, solitudine.
L’album in sè contiente brani buoni ma nessuno che davvero risalti, questo può essere visto positivimente (almeno in questo caso) data la bontà delle composizioni, ognuno può tranquillamente trovare una sua preferita non trovando per forza una peggiore del lotto ma limitandosi magari a indicare il pezzo che più ha emozionato.
La produzione è stata centrata, molto diluita e che acuisce il valore tombale sia degli strumenti che della voce, il sound in genere sembra essere proprio maturato, un evoluzione che ha cancellato i passi poco convinti che avevano segnato il sentiero percorso antecedentemente.
La Solitude Productions ha l’occhio lungo in tal senso è averli nel rooster che gli appartiene è merito da riconoscergli, gli Abstract Spirit hanno confermato di essere una band in ascesa e che merita quindi d’essere seguita, per chi non l’avesse ancora fatto consiglio un ascolto attento del loro “Tragedy And Weeds”.

Review
Darkside
9/10
07.01.2010

А вот интересно, что будет, если вместо рецензии на этот альбом дать ссылку на собственный отзыв о предыдущей работе АБСТРАКТНОГО ДУХА? Чем писать одно и то же, выдавливая из себя какие-то новые речевые обороты, не честнее ли будет просто скопипастить? Если музыканты не стесняются из альбома в альбом играть одно и то же, почему бы и критикам не поступать аналогично? Впрочем, все эти мысли вовсе не в упрек ABSTRACT SPIRIT – они снова оказались на высоте, и, ни на йоту не отступая от канонов funeral-metal, умудрились записать альбом, оторваться от которого можно разве что только для собственных похорон. Тяжелейшее звучание, торжественные клавишные аранжировки, сгущенная до предела атмосфера, в которой невозможно дышать – если вы были еще живы до того, как поставили диск в проигрыватель, то вынимать его оттуда будет уже рука мертвеца. Пожалуй, по сравнению с дебютным альбомом музыка несколько упростилась, но ощутимо добавила в тяжести. Если раньше можно было говорить, что гитарам не хватает «мясистости», то теперь об этом нет и речи – они изрядно напоминают дорожный каток, медленно, но верно размазывающий вас по асфальту. Естественно, клавишные при этом слегка утратили свою роль в создании саунда, но не стали от этого менее изысканны. Их мрачные, вздымающиеся к сводам готического собора, пассажи готовы помочь освободиться из плена бренной плоти не одной грешной душе. В то время, как суровые каменные риффы навеки похоронят то, что останется, под многотонным спудом. ABSTACT SPIRIT по-прежнему не чураются неожиданных музыкальных решений: в их композициях можно найти отзвуки неоклассицизма и даже джаза (Звездный Призрак снова не стесняется в изобразительных средствах), – но теперь они подобны легким наброскам на монолитной стене многовековой гробницы, тайну которых тщетно пытаются разгадать ученые. Под внешним однообразием “Tragedy and Weeds” скрывается множество оттенков, в игре которыми, собственно, и заключается искусство funeral-metal. ABSTRACT SPIRIT им владеют в совершенстве, и оттого в их музыке можно раз за разом открывать все новые и новые двери, попадая в еще не обследованные уголки Царства Мертвых. Главное при этом – не заиграться в эту игру, и не остаться в той безжизненной красоте навеки… Успеете еще.
(Диск предоставлен компанией “Solitude Productions”).

Author: old man

Review
Metalcrypt
3.5/5
04.01.2010

I liked this band’s last album, the brooding Liquid Dimensions Change, but I have to admit this one is not getting my rocks off. Funeral Doom is very dependent on atmosphere, and I just can’t get caught up in this album. This is slow, and heavy, and has some really arresting passages, but too much of it is just bland, without any real musical ideas besides being slow. The one place where they really do something new, the closing track “Sepulchral Winter”, they added these backing horns that are horrendously out of tune, playing hideous off-key blats and bleats that make the song actively painful to sit through. Maybe it was an attempt to evoke something disturbing or nightmarish, but there is a fine line between making something uncomfortable and making it unlistenable. This is not a bad album, but it is not as good as the last one.

Author: Sargon the Terrible

Review
Darkcity 54\2010
4/5
Январь\Февраль 2010

Raventale теперь звучат совсем по-Фирменному – отказ от русской лирики в пользу английского языка не оставляет шанса тем, кто попытается на слух определить национальную принадлежность проекта с его свежайшим релизом ‘Mortal
Аspirations”. Но главное отличие здесь – стилистическое: теперь от депрессивного блэка осталось не так много, основой стал холодный дум лишь с небольшим блэковым налетом, всё это, конечно, является личным делом Raventale, которые решили развиваться в данном направлении, но все ли фэны будут согласны с таким ходом событий?

Author: Ан.К.

Review
Mtuk Metal Zine

To label Abstract Spirit as funeral doom is a bit like saying the pope is a bit religious. Reason one; it doesn’t take much to notice that these aren’t in the business of making ‘happy’ tunes, and Reason two; the label doesn’t quite do them justice. I say this not as I’d consider these to be the most outstanding example funeral doom has to offer, but because there is a lot going on here if you scratch beneath the surface. As an album, this certainly isn’t in a hurry to get anywhere and as with quite a lot of down-tempo music this doesn’t thrill me from the get go. With some perseverance on my part this album gradually reveals itself as something rather good.

If Abstract Spirit does one thing exceptionally well it is to paint a vividly dark picture. ‘Tragedy and Weeds’ is the opening track and builds an atmosphere that’s virtually pitch black, while a spectral trail creeps up from underneath so gradually that you don’t see it coming. There is a soothing melody that soon works its way into the mix and intensifies as the track comes to its demise broiling up into a cacophony of sounds. ‘Funeral Waltz’ does exactly what is engraved on the tombstone; a languorous waltz that makes you want to close your eyes and dance your way to the cemetery dressed head-to-toe in black, face covered by a veil. There’s a hint of Gothic romanticism to this one and I find it both seductive and perhaps a little cheeky in a respect.

‘Crucifixion Without Regret’ ploughs forth with intensity; guitars crush while there’s an air of pomp brought in by the brass section that casually falls into line, working its way round in a seemingly endless loop feeling rather like a spirit caught in limbo unable to pass on. Read of that what you will; depending on your mood it can sound hypnotic or just monotonous and certainly around the middle of this album this can feel a bit like hard work. It’s soon time to ‘Face The Nightmare’ which clambers slowly toward the precipice, throwing some wistful flurries into the mix that sound rather dreamy, and eventually it flings completely off the rails into some mad violent piano bashing that’s akin to getting bludgeoned over the head rather clumsily with a hammer.

The jarring scrapes and heavy guitars offer an ugly start to ‘Wrapped In Solitude’ and lead into a tragedy inflicted verse that’s of a more tuneful, and somnolent disposition. This has a drifting sense of wonder in places, as ethereal keys seep through heavy chords, before taking a pas glissade into ‘Sepulchral Winter.’ There is a light and airy feel as the tracks meld together and there’s that enchanted forest feel as an ice-cold wind blows through. The solitary guitar weaves through and works nicely, as we get a sense of sadness and solitude and also that creepiness that I really connected with earlier on the album. There’s a huge, exploding bass here and a sense of perpetual foreboding twinned with an underlying sense of unease that brings us to the finish line.

I love the dark, horror-esque ambience that permeates this album, but at times I’m left feeling a little unsatisfied. Abstract Spirit are definitely on the right track but I don’t think their sound is quite fully developed yet; a few years down the line I can see these will be one of the bands everyone’s talking about.

Author: Luci Herbert

Review
Atlantis Tales
10/10

Об ABSTRACT SPIRIT уже негоже говорить, как о сайд-проекте музыкантов COMATOSE VIGIL – вот уже второй альбом подряд AS заявляют о себе, как о самостоятельной творческой единице без всяких приставок сайд-! Делают они это самым правильным образом – создав “Tragedy And Weeds” столь же мощно, как и первенца “Liquid Dimension Charge”. При этом интервал между альбомами всего лишь год (хотя запись разделена двумя годами) – рекордные сроки для столь медлительной субстанции как funeral doom metal. И вновь красивейшие вязкие гитарные риффы, неспешный ритм, эфемерные и далекие, как свет неведомых звезд, клавиши, скорбный и безысходный хор и всепоглощающий гроулинг… Постоянство, в случае AS, действительно признак класса. Практически все осталось в силе: направленность, состав музыкантов, студия, выпускающий лейбл, количество треков. Изменилась лишь длительность (68 минут против 61), да более мрачно зазвучали гитары. В остальном же ABSTRACT SPIRIT продолжают поставлять первосортный и ультра-тяжелый похоронный метал! Отдельно хочется отметить 12-страничный буклет, в котором разместились не только тексты и информация о записи, но и затейливая фотосессия группы, так что теперь можно узнать своих героев в лицо.

Author: Atlantis

Review
Deadshop
9/10

Yeah, ABSTRACT SPIRIT is another worthy band coming from Russia , I mean worthy because their quality of music. Nothing unusual but made on high level and without any compromises. Originally band members are from such TWILIGHT IS MINE and COMATOSE VIGIL and this is second albums of theirs. Musically we have here pretty gloomy and “right” funeral doom metal. All made on one breath but with great passion to the pure obscurity and sounds just like post-mortem hymns. How can we describe funeral doom metal? It’s fucking simple – very slow guitar parts, same slow drumming and unearthly power growls. Guitar riffs are wove such real abstract illusions there inside your mind during listening, and when you’ll put this CD into player you won’t be able to press “stop” button ‘till the end of playing time! Thus we got really great stuff for all dark souls, who like music which do funeral doom beasts from Sweden , Finland and UK . No more to say, just very good stuff, and also very useful if you’d like to penetrate deep into chaos of your thoughts! Be prepare for 6 looong and torturing hymns of death!

Review
Metallized
89/10
02.02.2010

Esistono effetti positivi nel vivere all’interno di un mondo interamente globalizzato? Ad essere sincero non ne trovo molti a livello politico-economico, mentre per quanto riguarda la sfera culturale devo ammettere che non esiste situazione più stimolante di questa.
Se non fosse per la globalizzazione non conosceremmo artisti e tendenze lontane da noi, che in condizioni diverse resterebbero difficilmente avvicinabili. Anche nella musica, grazie sopratutto alla forza centripeta di internet, possiamo venire a conoscenza di realtà provenienti dai più remoti anfratti del nostro pianeta, spesso con esiti davvero interessanti.
Gli Abstract Spirit non provengono certo da paesi esotici, ma da Mosca; ad ogni modo penso che difficilmente avremmo potuto ascoltare la loro musica in condizioni diverse da quelle vigenti. Sarebbe stato un vero peccato, poiché la band fa parte di quella sempre più nutrita schiera di formazioni provenienti dall’est europa che, tra altri e bassi, sta regalando interessanti prospettive agli appassionati del genere.

Tragedy And Weeds è il secondo full-lenght del lugubre trio moscovita, dopo l’apprezzatissimo Liquid Dimension Change uscito nel 2008. La formula ormai ben collaudata è quella di un pesantissimo doom metal dall’incedere maestoso e decisamente funebre, impreziosito da atmosfere horrorifiche ottenute da un oculato lavoro di tastiera. Potremmo parlare di funeral, o di doom death; ma gli Abstract Spirit sembrano più interessati al contenuto che alla forma della loro musica.
Pathos, senso della perdita, della dannazione, del riscatto e della redenzione: solo una band come i Paramaecium sembra fungere da appropriato termine di paragone per i musicisti russi; ma a differenza della band australiana qui la teatralità, nel suo freddo e magnifico rapporto con lo spleen esistenziale, sembra essere la nota dominante. Come già accennato sono le trame tastieristiche di I.Stellarghost a donare ai brani quel senso di esterrefatta estati negativa, volgente alla purificazione totale di ogni pulsione turpe e avvilente; decisamente è questa la marcia in più del loro sound.

Tragedy and Weeds vi seppellirà con il suo lentissimo incedere e con la sua durata di oltre un’ora, ma lo farà facendovi vivere la più grande tragedia della storia: la storia dell’uomo e il suo rapporto con l’esistenza.
La title track ci accoglie con malinconiche note arpeggiate, le quali accompagneranno il motivo del brano fatto di inquietanti cori tastieristici e assoli di chitarra dilatati quanto inquietanti, mentre la ritmica sottolinea ogni passaggio con fare impassibile. Da segnalare l’ottima prova in fase di growling di A.K. Iezor, il quale svolge un lavoro di profondità e evocativa irruenza vocale nel corso di tutto l’album. Il lungo brano si chiude con una trama chitarristica ben congegnata e che trasmette pienamente il senso di tragedia imminente, ma con una leggera nota di malinconia a caratterizzare il tutto. Notevole, in Tragedy And Weeds, è il ricorso a strutture complesse e quasi a spirale che donano dinamicità e coinvolgimento all’ascolto. Anche la successiva Funeal Waltz si assesta su questa linea compositiva, seppur qui a prevalere è l’epicità data dalle pennellate chitarristiche che costituiscono l’intelaiatura del brano, e che fanno dello stesso un vero e proprio valzer funebre retto da una ritmica sempre puntuale. Ancora una volta la tastiera regala preziosi attimi di visionaria immaginazione horrorifica specialmente nei moduli d’intermezzo al tema principale e nel finale.
Crucifixion Without Regret è forse la canzone meno sensazionale dell’intero lotto; seppur la qualità globale rimane decisamente alta, a mancare è quella dose di dinamicità espressiva che permea in profondità tutti gli altri brani del platter.

Face The Nightmare terrorizza letteralmente nell’alternanza tra pieni e vuoti, fatta di vibranti chitarre e catacombali silenzi; l’atmosfera poi si surriscalda in un crescendo raggelante, dove la tastiera fa da inquietante tappeto sonoro in tempi fortemente cadenzati. Nel finale cambiano i motivi musicali ma intatta rimane la forte carica emotiva sottolineata da ficcanti note dilatate. Wrapped In Solitude è il brano che più da vicino ricorda gli immensi Paramaecium, specialmente nell’avvio con chitarre serratissime e pachidermiche nel loro incedere, accompagnate da un solismo chitarristico davvero ispirato. E’ un pezzo senza scampo, senza possibilità d’appello, vi seppellirà senza che ve ne renderete conto. Ammaliante, tremendo e malinconico allo stesso tempo; in una parola perfetto.
Il lunghissimo lavoro dei russi si chiude con Sepulchral Winter, dove il piano ha un ruolo guida nel delineare l’andamento generale, creando così una interessanti varianti melodiche al sound dei nostri. Punto focale di questo brano è infatti una lenta nenia che nel corso degli oltre tredici minuti rapisce i nostri sensi con leggere divagazioni timbriche sullo stesso tema melodico; un lavoro di fino, non c’è che dire.

Per concludere Tragedy And Weeds è un lavoro davvero maestoso, profondo e inquietante, che smuoverà sensazioni profonde in tutti gli appassionati di queste sonorità. Quello che più chiaramente è emerso dalla mia analisi è che non si tratta proprio di un lavoro di facile lettura ed accessibilità; tuttavia sono certo che proprio in virtù di questo vi regalerà soddisfazioni a lungo termine.
Scopriteli, per fortuna almeno questo oggi potete farlo…

Author: Daniele Salvatelli “Born Too Late”

Review
Metallibrary
4+/5
07.02.2010

Мне, сконцентрировавшемуся на отборном нашем и зарубежном думе в последнее время, еще не забылся шикарный первый альбом этой команды. После успешных, да еще и дебютных работ всегда встает вопрос “куда двигаться?”, пусть он не так актуален для funeral doom группы, но отъевшейся на богатстве выпускаемой и доступной музыки публике, даже минутная остановка на одном месте, зачастую кажется смертным грехом. Хотя, конечно, такие, рыночные, стимулы эволюции творчества до добра не доведут, ведь любая группа вынуждена работать не так, как хочет, а так, как ее купят, даже если лейбл и продюсеры не ставят задач – задача, зачастую не самая верная, устанавливается рынком и слушателями. В обратном случае неуважение и прочее.

К счастью, движений было произведено не так много, и материал хоть и оказался, чуть слабее, но остался в похожей плоскости: ведь таких альбомов не всегда можно найти и у метров зарубежной сцены. Теперь это и не фьюнерал, в полном понимание этого слова. Слишком богатые и разнообразные риффы, медленная, но вполне терпимая скорость, большая забористость и динамика подразумевают теперь полноценный дум-дэт, впавший в помрачение сознания, и изо всех сил старающийся это помрачение распространить как инфекцию на слушателя, через отрешенную, страшную и липкую атмосферу, достигнутую хорошими клавишными аранжировками, которые к тому же не снижают жесткости звучания.

Чем хороша эта группа, так это умением украсить определенной находкой, отдельным изыском почти каждую песню альбома. Чаще всего стараются, конечно, клавиши. Мрачные, почти мистически страшные сдавленно “кричащие” клавиши первой песни вносят нужное настроение с самого начала. Эффектное использование вальсовых ритмов, на предсмертной скорости, подчеркивается глубоким звуком ритма и впечатляющим риффом в одноименной песне, и продолжает гнуть свою линию. Изысканные мелодии, сплетаются клубком, в котором мелькают атональные ноты, привнося чувство фарса во мрак повествования. А, вообще, слушая некоторые моменты, приходит в голову мысль: а почему бы группе не попробовать полноценную духовую секцию (в возможных источниках про живые духовые ничего не написано, исходя из этого, полагаю, что это синтезатор), создав, таким образом, нечто подобное funeral jazz, только значительно более тяжелое. После стабильно стилевой “Crucifixion Without Regret” четвертая композиция рисует штрихами фортепьяно и чистого голоса. Именно штрихами, которые оказывается на периферии гудящего звучания. Но альбом не додерживает своего напряжения до конца – явно слабее других, в целом не плохая, придэтованная “Wrapped In Silence”, а последняя вещь внезапно срывает покрывало ужаса, оказываясь чем-то печальным, возможно погребальным, но уровне классической музыки, с которой ее роднят шикарные полифонические фоны. Как песня, концовка замечательная, но атмосфера музыки переходит в другую плоскость, отчего страдает целостность, до этого, вроде бы монолитного релиза.

Оформление вновь противоречиво, и вновь, это касается лицевых сторон диска. Обложка невнятна, с новым логотипом, единственным достоинством, вписанным в каждую свободную часть буклета. В то же время, внутренности, расположенные вертикально, блистают неплохими фотографиями и текстами, к слову, на очень животрепещущие темы – автору как-то удалось метафорические темы перевести в сознание современности, тем самым, повысив их актуальность.

Второй альбом Abstract Spirit не дал миру чего-то большего, чем уже было создано, но укрепил позиции группы примерно на том же уровне. Они окопались там, откуда можно не глядя брать их диски, и знать, что вас ожидает оригинальный и интересный материал, а доверие, это больше половины основы для отношений.

Author: Maliceth aka Алк.

Review
Diabolical Conquest
6.4/10
23.01.2010

The influence of glacially slow funeral doom bands such as Shape of Despair and Colosseum are evident in Abstract Spirit’s sound, but what really defines the band, the element which gives it that extra special edge, is the way in which they can take a synth-based style of composition and almost entirely remake it with the emphasis on guitar work. I am in no way making grandiose claims that Abstract Spirit are the be all and end all of funeral doom innovation, but I was duly impressed with how Tragedy and Weeds was presented. Unfortunately this is all that I can say that’s positive about the record – while the balancing between the various atmospheric elements is pitched ever so centrally, the Russian trio’s song-writing leaves much to be desired.

Tragedy and Weeds offers six lengthy songs, just over an hour divided almost equally between each track. Believe me, it feels much longer than it is. Despite the fact that there are whole songs which are quite gripping (“Face the Nightmare”) or uncharacteristically good (“Sepulchral Winter”), Tragedy and Weeds for the most part chugs and churns with little life and little emotion. As mentioned before, the way that lead and rhythm guitars coincide with the synth work is mostly well done– only a tiny group of bands (Shape of Despair etc.) can get away with synth saturation, and so credit must be given to Abstract Spirit for not taking the risk and finding a good balance between the two styles.

Another point towards the balancing of styles on Tragedy and Weeds is its production – sounding very clear, all of the little elements that make up any of the soundscapes presented on the record are easily distinguishable. One negative is that the drums sound loud and hollow, almost echoed, and this gives them and certain sections where the drums are prevalent an artificial and synthetic sound. If there’s anything I hate in funeral doom, it’s a lifeless atmosphere, and though Abstract Spirit have merely toyed with this forbidden element, they still cause some annoyance. Vocal work also seems to be a little too loud in the mix – while the vocals are rather good, ranging from thick gutturals to raspy shrieks a la Consummatum Est, they outdraw everything else and disrupt continuity.

As much as I may tout certain elements that the group have succeeded in, mediocrity still has a firm grip around Abstract Spirit, and Tragedy and Weeds is not enough to rid the band of it. As insipid as some tracks can be (“Wrapped in Solitude”), certain choices the band make are simply not good – the horn work in the third track is laughably bad, and the main melody of the second too closely resembles the Harry Potter theme for my liking. Still, it may not be completely balanced out but things like the over-arching piano melodies on the final track somewhat restore my confidence in the band’s compositional abilities. But then they choose to finish it off with out of tune horns. Ugh. It’s as if they can’t make up their minds about being good or bad, so they’ve settled for both.

While I’ve praised Abstract Spirit for the initiative they’ve taken, Tragedy and Weeds still doesn’t quite make the cut. It’s an enjoyable record, and can be somewhat interesting if one is able get past all the mundane and unexciting passages littered across its hour length. To put it bluntly, this is one of the better doom records I’ve heard out of Russia, but that’s not saying much. Fans of anything from the Russian scene will undoubtedly enjoy the band’s sophomore effort, and it’s worth a listen to funeral doom fanatics. Other than that, feel free to file this away under the already overflowing folder of funeral doom to forget.

Author: Berkay Erkan

Review
The Streets
8/10
02.02.2010

Nok en gang leverer denne russiske trioen slepende, majestetisk og symfonisk Funeral Doom. De spinner videre på grunnideene som debuten også ble tuftet på og det gjør ingen verdens ting. De maler dommedagsstemning med tjukk og stødig pensel og en instrumentpalett som både er kontrastrik og veloverveid. Det hadde vært råkult om det faktisk var ekte instrumenter over hele linja, men enn så lenge gjør synth-versjonene av messingblåserne en godkjent jobb. Som på debuten er vokalen totalt umulig å dechiffrere, men du permafrosne tundra hvor effektivt den sprer kuldegysninger i bein og marg. De har også gjort rom for subtile variasjoner, slik at den ikke alltid fremstår som en drønnende ulyd som kommer eimende opp fra dødsriket. Funeral Doom er kanskje ikke en sjanger hvor det er mulig å eksperimentere for mye, men bare det at de har snekret sammen ei låt på ni minutter i vals-takt (tre firedeltakt for musikkteoretikere der ute) er jævlig forfriskende. At låta i tillegg bærer den megetsigende tittelen «Funeral Waltz» er et stort pluss og gir en solid pekepinn på hva du kan forvente av lystigheter, eller mangel på sådanne. Underveis dukker det opp noen dramatiske horror-aktige partier som bryter opp den monotone gravferdsstemningen og akkurat det gir sårt tiltrengt variasjon. For sjøl om «Tragedy and Weeds» er aldri så fascinerende melder behovet seg innimellom for litt luft og lys. Balansen deres er nært opptil det optimale og det er ikke mange prosentene de skulle ha dreid i retning av positivisme før karakteren kunne blitt enda et hakk høyere. Sist gang trakk jeg frem Evoken og Esoteric som sammenligningsgrunnlag. Denne gangen beholdes sistnevnte, mens finske Colosseum og tyske Ahab legges til. Abstract Spirit er allerede i verdensklasse innen sin genre.

Review
Pro-Rock Zine #67
5/10

Когати става въпрос за фюнеръл дуум кетьл, няма-какво толкова да разказва -Tragedy and Weeds е втората творба кратушките, в която не намирам кой знае каква разлика в сравнение с дебютната им творба освен лекото намалява- не на дет метъл моментите и из ползваната брас секция, която придава, макар и незначително, разнообразие. Иначе шестте композиции представят атмосферичен фюнеръл дуум метъл, като бих отличил закриващото Sepulchral Winter. За фенове на Comatose Vigil, Shape of Despair

Author: Svarog

Review
Maelstorm
7/10

Tragedy and Weeds is a doom metal album that reminds mostly of Shape of Despair… something in the tempo, use of melodic accents, and the vocal style and how it’s implemented. However, Russian Abstract Spirit is a substantially more retarded — and also in this case, lesser — version of the essential Finnish doom unit… but that doesn’t mean you shouldn’t listen to Tragedy and Weeds.

Tragedy and Weeds is a long album, with lots of material, whose intricacies will reveal themselves with repeated listens… the only issue in question is whether the album is quite good enough to warrant taking time out from listening to a lot of other music to really get into what’s going on during Tragedy and Weeds.

For example, the way the record winds down in a way that makes it sound like a stereo running out of batteries is interesting. Abstract Spirit also likes to use a lot of “horns,” which can sound like the theme to a Mafia funeral procession in which everyone is drunk, makes for some amusing remarkability.

But on the flip side, there’s something about the production that, while well done and heavy, doesn’t invite the listener to turn up and enjoy at louder volumes. Still, if you’re a big fan of Shape of Despair, and could stand to have more of that kind of thing, albeit a 2nd rate version of it, Tragedy and Weeds is recommended.

Author: Roberto Martinelli

Review
Metal Review
4.9/10

I am man enough to admit defeat. I tried to give Abstract Spirit’s Tragedy and Weeds a fair shake, but it proved too much for me. During my first listen to the album I fell asleep less than halfway through, although, in Abstract Spirit’s defense, it was bedtime. Attempt number two suffered a similar fate. For my third attempt I started the album halfway through, in hopes of making it to the end. After the longest half-hour lunch break of my life, the closing strains of “Sepulchral Winter” finally hit my ears. In the past few days I have contemplated giving Tragedy and Weeds another listen, as I generally like to give a record, at the very least, three full listens before I attempt to write about it. However, the prospect of another spin of this album filled me with such a sense of dread that I threw in the proverbial towel. Life is too short and this record is too damn long.

On paper Abstract Spirit’s style of funeral doom would be, if not up my particular alley, up one nearby. I am not ordinarily one to shrink at the prospect of long, slow and heavy: I spin Sleep’s Dopesmoker with some regularity; I count Winter’s Into Darkness among my personal favorites; I have even listened to Warning’s Watching from a Distance without slitting my wrists. (It was a near thing, though.) Tragedy and Weeds, however, has proven too minimalist, even for me. The album consists of six tracks, the briefest of which is over nine minutes long. There is little to differentiate one bloated song from the next; the music consists entirely of slow trudging chords that fail to rise to the level of anything recognizable as a riff, over which keyboards and synthesized horns sketch skeletal melodies, while deep growls drone out indecipherable lyrics. There are of course moments where some semblance of a tune emerges, but they are few and fleeting, and I will be damned if I am going to plow through this record again to pinpoint them. You will just have to take my word for it. The lone standout track is “Sepulchral Winter” which is born aloft by denser orchestration and some elegant, piano melodies, creating an atmosphere both melancholy and majestic. But even that bit of tunefulness only lasts until the vocals enter.

The shame of it all is that Tragedy and Weeds is probably an artistic triumph for Abstract Spirit. This sprawling opus is likely the product of countless hours of painstaking recording. I suspect that the band agonized over the placement of each and every dolorous chord and mournful note. Unfortunately, I just don’t give a shit. One more listen to Tragedy and Weeds and the funeral in this funeral doom would be mine.

Author: Jeremy Morse