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Abske Fides - Abske Fides (CD)

dark doom death, Solitude Productions, Solitude Productions
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Долгожданный полноформатный альбом от бразильской группы Abske Fides развивает идеи, заложенные в музыке выходивших ранее мини-альбомах на новом качественном уровне. Выверенное использование клавишных, чистого вокала и эпизодической скрипки, в сочетании с аранжировками композиций, делает эту работу группы более продуманной и разнообразной. Мрачный doom death metal от Abske Fides – это мир человеческой отчуждённости и отчаяния, который готов полностью принять слушателей.

Tracklist:
1 The Consequence Of The Other 7:31
2 Won’t You Come 9:20
3 The Coldness Of Progress 8:53
4 Aesthethic Hallucination Of Reality 11:12
5 4.48 9:27
6 Embroided In Reflections 5:14

Artist:
Abske Fides
Artist Country:
Brazil
Album Year:
2012
Title:
Abske Fides
Style:
dark doom death
Format:
CD
Type:
CD Album
Package:
Jewel Case
Label:
Solitude Productions
Cat No:
SP. 060-12
Release Year:
2012
Country Of Manufacture:
Russia
Review
Metal.tm
7/10

ABSKE FIDES stammen aus Brasilien, was man dem Trio wohl nach Hören des selbstbetitelten Debuts kaum glauben würde. Die drei Herren (?), die allesamt unter einem Pseudonym agieren, klingen weder nach ANGRA, noch nach SEPULTURA und auch eigentlich sonst nicht richtig nach Brasilien. Eher nach Nordamerika, Frankreich oder Deutschland.
Doch was ist es, was den Hörer zu solchen Fehlannahmen verleitet?

Das Geheimnis liegt im Stil von ABSKE FIDES, für den sie bereits mit diesem Debut eine eigene kleine Nische geschaffen haben. Hier klingt nichts nach Hitze, Palmen oder Karneval. "Abske Fides" ist die musikgewordene Postmoderne, irgendwo zwischen Häuserschluchten und Identitätsverlust. Bei solchen Assoziationen denkt wohl manch einer direkt an shoegazigen Black Metal, der mittlerweile nicht nur zu Unrecht ein bisschen in Verruf geraten ist. Doch ABSKE FIDES schaffen es, sich von jedem Klischese und von der lauernden Gefahr der Belanlosigkeit zu retten und haben, wie bereits erwähnt, ihre eigene kleine Nische gegraben, oder zumindest damit angefangen. Das Geheimrezept im ABSKE FIDES Sound liegt an der richtigen Mischung. Die Brasilianer integrieren zwar auch den einen oder andere "post" schwarzmetallischen Moment in ihrer Musik, verweben diese aber perfekt mit weiteren Stilen, sodass eine stimmige, wenngleich leicht unkonventionelle Mischung dabei heraus kommt.

Die Zutaten, die ABSKE FIDES dabei verwendeten, reichen von Funeral Doom Metal über Black Metal bis hin zu ambientesken Soundgebilden. Diese Einzelteile werden geschickt zu einem neuartigen Ganzen verwoben, das zeigt, dass auch heutzutage noch neue Wege im Extrem Metal Bereich möglich sind. Zudem schaffen es ABSKE FIDES auch, dass ihre urbane Atmosphäre nicht so aufgeweicht und weinerlich daherkommt, wie zum Beispiel bei HERETOIR. Dadurch wird eine einengende, beklemmende und zugleich sehr spannende Atmosphäre erzeugt, die durch die sehr sporadischen Violin-Einsätze noch zusätzlich an Dichte gewinnt. Gleichzeitig machen ABSKE FIDES nicht den Fehler, dass sie sich in einer fixen Idee verrennen, sondern behalten zu jederzeit den Überblick über die verschiedenen Komponente von "Abske Fides".

Dass es sich hier nichtsdestotrotz um ein Debutalbum handelt, das ist trotz der großen Stilsicherheit noch zu hören. So laufen ABSKE FIDES hin und wieder Gefahr, den eigentlichen Song aus den Augen zu verlieren, was dazu führt, dass die eine oder andere Komposition ein bisschen im luftleeren Raum schweben bleibt. Zudem dürften die Herren noch ein bisschen stärker am Gesang arbeiten, der zwar nicht schlecht ist, aber noch ein bisschen wenig Akzente zu setzen weiß. Ansonsten gibt es am Debut der Brasilianer aber relativ wenig zu bemängeln, was eindeutig für diese spricht.

Author: Tizian C.
Review
Stereo Invaders
9/10
25.07.2012

I pensieri, a volte, sono solo momenti di vita che si susseguono. Passati ricordi, emozioni, e futuri risvolti che inconsciamente raffiguriamo nella nostra mente. Tutto ciò sono gli Abske Fides, project Brasiliano che ha visto la luce delle tenebre nel lontano 2003. Due EP ed una demo, sono il passato discografico della band, ora approdato a questo omonimo full-lenght. Catapultiamoci allora in questa effimera e così travolgente dimensione musicale. Basso e chitarra hanno in sé una raffinatezza unici, scorci Jazzati di un Funeral Doom dagli intarsi Post-Black Metal. I brani riescono però ad andare ben oltre la schematica classificazione. Ogni volta che cerchiamo di ordinare le idee e di descrivervi scolasticamente le note, tutto viene meravigliosamente dilatato, svanendo inconsistente tra le mani. Desolazione e consapevolezza si amalgamano, piccola finestra di un’anima tormenta che cerca di catturare qualche fioco barlume di luce. Veramente difficile descrivervi a parole una tal quantità di orpelli sonori, neologismo musicale di ogni singola nota profusa. Pathos, dissonanza, intensità emotiva e sensibilità sono caratteristiche uniche, e delle quali gli Abske Fides possono dirsi testimoni. Tra l’altro, l’interpretazione stessa non è mai eccessivamente metodica e cadenzata, così che seppur di fronte ad un disco Funeral Doom, tutto fluisce via con spontaneità e senza mai tediare. Insomma, anche se non siete degli avvezzi di questi suoni, il contesto riuscirà a farvi innamorare di un disco che folgora per personalità. Lasciatevi allora annichilire da questo cupo firmamento, caduca raffinatezza che non ha davvero eguali.

Author: Thiess
Review
Pinpoint Music
20.08.2012

Abske Fides. São Paulo Brazil. Black/Doom. Lyrical themes exposing the terror in existence and modernity. Pure post modern darkness. This came on me like a surprise. The cover for Abske Fides looks more like a film school final project than a black metal album. I think in its own way, Abske Fides’ war on civilization parallels the vague thesis of extreme metal. This self titled debut follows on the heels of nearly a decade of well received demos and EPs. From their beginning in 2004, the band has made it clear they have no use for traditions and pageantry of heavy metal. Though the music roots itself in black metal’s despondency, its focus and direction is contemporary. This is what is interesting. Black and doom metal used as a tool rather than a destination. With this genuine attitude the emotions and set against the music are visceral and real. The mixture of rasps and downtuned guitars on Abske Fides is haunting and exciting for close to an hour. I can think of few film school final projects that can say the same.

Author: Kaptain Carbon
Review
Darkview
8/10
07.08.2012

Abske Fides brengt na 9 jaar een self-titled debuut album uit op het Solitude Productions label. Het mag u dan ook niet verbazen dat we hier te maken hebben met black/funeral doom metal. Wat u wel mag verbazen is het feit dat Abske Fides een Braziliaanse band is.

De basis van deze Brazilianen is duidelijk de (funeral) doom metal. Deze komt zoals het hoort zeer langzaam op gang, maar halfweg het openingsnummer komen de (atmosferische) black metal invloeden naar boven. Ik moet hier, door de zang en het hypnotiserende mid-tempo ritme, spontaan denken aan het latere werk van Blut Aus Nord.

‘’Won’t You Come’’ barst na een korte sample hevig los met een heerlijk lomp doom ritme. In dit nummer heb je naast de gelaagdheid van de gitaren ook mooie contrasten door de cleane stukken zang en akoestische passage. Dit nummer eindigt met een zeer geslaagde post-metal climax.

Het volgende nummer ‘’The Coldness Of Progress’’ gaat na een korte, dreigende intro over in een heerlijk akoestische passage die me spontaan aan de band Minsk doet denken. Het is pas na ruim vier minuten dat de zwaardere gitaren terug invallen, maar nog steeds met een warme klank. Dit nummer eindigt in een heerlijke draaikolk van atmosferische black en post-metal. Hoewel het gehele album geen echte pieken en dalen kent, zou ik ‘’The Coldness Of Progress’’ vanwege dit einde willen aanraden als luistertip.

‘’Aesthethic Hallucination Of Reality’’ bezit net als 4.48 een spookachtig intermezzo, maar waar eerstgenoemde een pak ingetogener blijft trekt men op ‘’4.48’’ nog eens alle registers open. ‘’Embroided In Reflections’’ is tot slot een warm, post-rockerig einde met enkele samples.

Abske Fides biedt ons dus een erg interessante mix van stijlen die zeer veel potentieel heeft. Hun self-titled debuut steekt ver boven de grijze middenmoot uit, maar Abske Fides is naar mijn aanvoelen nog tot veel meer in staat. Nog geen topper, maar wel een zeer aangename kennismaking en een band om in de gaten te houden.

Author: Tool-fan
Review
Lords of Metal
8.3/10

Een land dat bekend staat om zijn zonnige stranden en grootse carnavalsfeesten associeer je niet meteen met doom en dan vooral niet funeral doom. De eerste keer dat ik het Braziliaanse Abske Fides hoorde was in 2006 ten tijde van hun ´…Apart Of The World´ EP en die plaat was dusdanig zwartgallig dat ik aan Finland dacht. Maar dat was dus niet het geval.

Zes jaar en één EP, die ik gemist heb, later, laat Abkse Fides hun eerste full-length op de wereld los. Het eerste dat opvalt is dat het allemaal een stuk minder zwartgallig klinkt en dat de funeral doom met blackinvloeden zo goed als verdwenen is. Wat resteert is death/doom met het een en ander aan post metal invloeden en qua sfeer doet het me aan het Chileense Mar De Grises en de oude Process Of Guilt denken. Het is duidelijk dat Abske Fides wil doorgroeien in hun doomgeluid en zich niet wil beperken tot één vaststaand afgebakend subgenre. Op dit 51 minuten durende zes nummers tellende album lukt dat de drie heren prima. Tijdens opener ‘The Consequence Of The Other’ komen er ook nog vrouwelijke gastvocalen langs, maar die duiken nergens anders meer op. ‘Abske Fides’ is aan te raden aan een ieder die van doom houdt die zich niet beperkt. Al met al wederom ene prima uitgave van het Russische Solitude Productions.

Author: Marcel H.
Review
Don't Count On It Reviews
9/10
24.07.2012

Despite being aware of Abske Fides for a little while now (I'm pretty sure I first found them when I went through that whole dsbm phase a few years back), this is the first time I've actually listened to them. I saw this album around the blogs but didn't wind up checking it out till one of the band members told me about it. I came into this thinking I knew what I was getting myself into, obviously, I was wrong.
Based on the fact that I had seen the funeral doom tag attached to them I expected them to sound like that, slow and heavy, maybe with some more atmospheric stuff. As I, and you as well should you decide to check out this album, found out, this record is so much more than your standard funeral doom record. Sure, it's roots are certainly in the Esoteric and Shape of Despair kind of vein, but influences from the likes of Lantlôs, Blut Aus Nord, and to an extent even Isis come through. While I almost always skim through an album before I decide to review it (just to see if it will interest me) I was genuinely surprised by the riffing on here when I was going through it because it was really cold and sort of mechanical sounding, hence the BAN reference, but was obviously rooted in the doom spectrum. I'd also say that the atmosphere on here is very urban and melancholic, which only adds to uniqueness of those mechanical riffs. I won't deny that some of that could have come from the band's experiences working in the depressive black metal genre, but luckily most of that sound has been weaned on here, making only subtle appearances in some songs through certain vocals, samples, or guitar passages. To reference the vocals quickly though, it's worth mentioning the variety used throughout the album, you have the standard black metal screams but there's also a few uses of guttural growls and whispering, as well as some surprisingly well done singing.
Based on what I had originally skimmed through which was the first few tracks, it was a little weird when the tracks that were closing out the album showed a much more restrained take on post-rock. The influence of post-rock can be heard in all the tracks on the album, to various degrees, but a song like Embroided In Reflections really embodies straight ahead, no nonsense post-rock. It retains the same atmosphere from the rest of the album but is very calm and steadfast in its direction and performance. Though that's probably the clearest and most well defined post-rock track on the album, The Coldness of Progress demonstrates it's influence in a different facet. Taking the rise-and-fall element from the genre and essentially transferring it into a very clean sounding doom song that is somewhat reminiscent of a group like Mourning Beloveth, proves to be a definite standout on the album with its bluesy leads and crushing climax. It's a very interesting track that definitely shows a strong sense of songwriting, though the whole album really shows that if I'm being honest about it, and mood that is rarely found on anything coming from the dsbm scene or new funeral doom groups. It's a very impressive debut.
I really enjoy the album, and while I think it could be a tad more memorable, I can't say I'll hold that against them because the album is just that well put together. Each song has its place and is different from the one before it just enough to make them all stand out in their own way. Definitely a really great first full-length for these guys, here's hoping they can write another album like this for the follow-up.

Author: maskofgojira
Review
Metallized
6.5/10

Insolita uscita da parte di una band che proviene dal sole brasileiro; ma gli Abske Fides disdegnano con piacere la luce e celebrano la notte e le sue ombre con questo primo album edito dalla russa Solitude Production, label specializzata in extreme doom e generi affini.

Già dall'iniziale The Consequence of the Other la band sferra le sue carte migliori: ritmiche lente ma varie, melodie maligne, voce tipicamente black metal alternata a una timbrica pulita (ahimè poco convincente quest'ultima, come nella riflessiva The Coldness of Progress), e grovigli chitarristici black/doom che mi hanno rimandato pesantemente agli Ahab. Non stiamo certo parlando di brani memorabili, ma i nostri se la cavano degnamente, andando a scavare nel fondo delle proprie emozioni più estreme e sporche, rivoltando il proprio malessere su di una musica genuina, scritta con l'istinto e con il cuore.
La parte finale del disco è indubbiamente la più interessante: Aesthetic Hallucination of Reality è ricca di groove, pachidermica e discretamente efficace grazie alla sua panoramica asettica e il suo minutaggio che va a lambire i dieci minuti di durata, ma senza per questo stancare. In 4.48 le melodie si intensificano, andando a creare un flusso di struggente malinconia, enfatizzato anche dai silenzi che fanno tirare il fiato solcando linee chitarristiche scarne ma incisive. Ancora poco convincenti le parti pulite, comunque poco utilizzate e mai poste in primo piano.

Da sottolineare il pezzo conclusivo, Embroided in Reflection, che esce fuori dal coro con il suo post rock schivo e freddo (il pezzo migliore per chi scrive). Che sia il primo vero indizio per un futura evoluzione? Chissà, è presto per dirlo, ma se vorranno uscire dalla massa ed elevarsi dal rango di band comune, i nostri dovranno rimboccarsi le maniche e tirar fuori dal cilindro qualcosa di ben più consistente di questo discreto debutto.

Author: Emiliano Sammarco "Witchcraft"
Review
Hellz Zine
5/5

Прежде чем подойти к обозреваемому альбому этого бразильского коллектива, хотелось бы окунуться в дебри предыдущих работ. Первая демка сего ансамбля представляет собой очень интересный симбиоз doomи black. Последующие творения (второе демо и ЕР) являют собой скорее funeraldoom. Но если демка представляла собой более классический подход к жанру, то ипишка демонстрирует нам другую сторону медали. Это не просто желание сыграть funeral. В эту работу внесены технические изменения, синкопирование, ударные стучат из-за такта, что несёт непередаваемую атмосферу потерянности. Постепенно меняя свое звучание, команда подошла в своих скитаниях к итогу поиска.

Прослушав альбом, хотелось как-то дать ему жанровую характеристику, но не тут-то было. Оригинальная подход, оригинальный звук. Смешение интересных стилей низвергли на уши слушателя неописуемую авангардно-угрюмую, меланхолично-экспериментальную музыку. На старте материал начинает напрягать мозг грязным шквалом sludgemetal, сменяя его апатично-печальными зарисовками doomdeath, но и это ещё не всё. Вязким и экзистенциальным порывам поспевают экспериментальные джазовые и акустические изыскания. Отдельное хочется об ударных, а в частности, о рабочем барабане. Натянутая мембрана даёт яркий хлопок, такое ощущение, что каждый раз стучат по мембране барабанной перепонки уха. Вокал, сопровождающий музыкальное изречение, гармонично подчёркивает общую звуковую палитру. Протяжные чистые и глубокие гроуловые арии, завораживаю и уносят потоком в глухие дебри сознания. Каждая инструментальная часть альбома заслуживает бесконечного восхищения и описания, но объединённые вместе, они оставляют на вечную память рубец эмоциональной нагрузки. Невооружённым ухом можно вычленить жанры, стили, техники и инструменты... но услышав всё это в едином целом музыкальном полотне, можно забыть обо всём на свете. Всё настолько гармонично в данном концепте.

Author: ProRock
Review
The Pit of the Damned
7/10
27.09.2012

Devo ammettere di essermi avvicinato con una certa titubanza a questo lavoro, in quanto le ultime uscite in casa Solitude, non mi avevano granché convinto, a causa di un eccessivo crescere di un movimento, quello doom, che se continuerà ad essere sfruttato in modo cosi massiccio, rischierà di veder ben presto la sua fine. Tuttavia, il debut album di questi brasiliani dal nome astruso, non fa che impressionarmi positivamente e vederli affiancare ai connazionali Helllight, come compagni di etichetta. Qui, non siamo di fronte ad una proposta tipicamente funeral doom, ma la musica del combo di San Paolo, colpisce piuttosto per la sua componente avanguardistica, che ben si fonde con quella death doom. Quel che è certo è, che anche qui si viaggia su durate piuttosto lunghe dei brani, con “The Consequence of the Other” che risulta essere una song ostica, difficile da delineare al primo ascolto, perché pur viaggiando su coordinate stilisticamente vicine al doom, trova il modo di impreziosire la propria proposte con inserimenti estemporanei di female vocals. La seconda “Won’t You Come?” si fa ricordare per un riffing di chitarra ipnotico e melodico, che immediatamente si stampa nel cervello e per uno splendido break centrale, dal vago sapore post rock (ottimo il pseudo assolo e l’intera componente ambient), mentre le vocals si alternano tra un cantato da cavernicolo ed uno più pulito. Ho alzato pertanto le mie antenne, capendo che il debut album degli Abske Fides, non è qualcosa che suona in modo scontato, ma piuttosto, va ascoltato con crescente attenzione, perché i particolari che si possono captare, risultano davvero azzeccati e notevoli da un punto di vista di godibilità del prodotto. Ecco non voglio sembrare uno da televendita, ma mi sembra di scorgere nel sound dei nostri paulisti, un tocco di originalità, che fin qui era venuta a mancare nelle uscite della label russa. Non tutto fila per il verso giusto, in quanto affiorano momenti di stanca, che si potevano sicuramente evitare o per lo meno, non tirare cosi tanto per le lunghe e penso all’infinito inizio onirico/visionario di “Coldness”, ma cavolo, non appena parte una chitarra seventies, di scuola pink floydiana, non posso che sobbalzare sulla mia sedia e porgere ancor più attentamente il mio orecchio, e sentire quelle meravigliose plettrate sulle corde della chitarra che mi fanno godere non poco. Poi le vocals si mostrano magari un po’ deboli, ma poco importa se il feeling che respiro è di quelli da dischi acustici dei favolosi anni ’70. E 70 sarà anche il mio voto finale, come forma di incitamento per il terzetto sud americano a continuare su questa tecnica, affinando di sicuro la tecnica, per quello che potrebbe rischiare di diventare un sensazionale lavoro finale. Gli undici minuti e passa di “Aesthetic Hallucination of Reality” sono belli lunghi, un po’ grezzi e rappresenta alla perfezione quello su cui i nostri dovrebbero lavorare maggiormente per non rischiare di dilungarsi troppo nelle loro elucubrazioni mentali. Menzione conclusiva per l’ultima traccia, “Embroided in Reflections” che palesa invece le influenze più spiccatamente post della band, con un sound notturno. Ve lo dico io ragazzi, non siete una band doom, potete essere tranquillamente qualcosa di più, pertanto non vi nascondete dietro un riff trito e ritrito per farvi apprezzare dalle masse di doomsters, basti ricordare gli esordi degli Anathema e di quell’”Eternity” che li ha portati oggi ad essere quello che sono. L’esperienza insegna e se il nostro bel trio proveniente dal Brasile, sarà bravo a giocarsi le proprie carte, sono certo che potremo sentir parlare di loro molto presto… Audaci ma ancora un po’ troppo timidi

Author: Francesco Scarci
Review
Ave Noctum
7.5/10
25.09.2012

Now this is a South American curiosity to be sure. Abske Fides are Brazilian and what they play kinds of depends on which bits you pick up on. We have post hardcore, funeral doom and doom/death in the ebb and flow shape of Isis and Ahab, delicate melody akin to Opeth, introspection and cascading riffs like Katatonia, Neurosis like intensity and curious Godspeed You! Black Emperor post rock with odd samples. Thankfully it isn’t just slapped down in clumps like that, though. Nope; Abske Fides really have worked at this sound.

‘The Consequence of the Other’ is a seven and a half minute opener with a sludge-laden doom riff with a real pull on it. Beginning with a low half formed guitar sound it slowly builds a head of steam from the funeral bedrock and pushes off into a Katatonia tuned doom riff. With some surprising and fine deep harmony vocals to slow it further it then pushes into an inexorable drive, ridden by harsher Neurosis like voices. Closing with clean backing vocals joining the riff it is a confident song and very nicely balanced, full of a despondent atmosphere that clings to you. Those final vocals do bother me a little but I kind of get used to them in the end.

‘Won’t You Come’ brings a more sludge darkened Opeth style; a nice downtuned riff with clean vocals falling into melody and death vocals. It has less of a pull than the opener initially, and I never quite shake the Opeth thing over its nearly ten minute length particularly in the languid, finely paced quiet sections, but you can’t help but be impressed and, better, drawn into it. There are superb vocals once more on this one and smooth, lovely guitar melody before the fine rhythm section break.

‘The Coldness Of Progress’ continues the Opeth quietness but the riff returns with a feel more like a slow Isis slip and slide before being crushed by the closing, bleak deluge. ‘Aesthetic Hallucination of Reality’ delves a little more into the funeral doom for some of the vocals but the guitars are often harsh, up tempo maelstroms of sound. These wind around intense pools of introspective post-rock delicacy fused with distant samples and a layered sound that has a hard urban feel to it. Quite a trip. ’4:48′ takes a hypnotic, almost stoner sound and mixes clean and harsh vocals into a strangely upbeat cloud, resting for a while in reflective mode before dying in a fire of hard guitars. Finally they leave us with ‘Embroidered In Reflection’ which is very post rock; almost Sigur Ros and Goodspeed You Black Emperor woven through a lengthy spoken sample that allows you to softly drift away. It brings to mind something that Apostle Of Solitude managed on their debut, too. Good company to keep indeed.

It is an ambitious and complex album and don’t let the words post-rock fool you; this is not some hipster outfit trying to steal more of metal’s clothes. More, this is a fine and highly promising progressive, Neurosis andIsistinged piece of doomy sludge. There may be room for a little more development in the transitions between tempo changes, maybe, and you can still feel their individuality still asserting itself rather than being fully fledged already but make no mistake; if they continue on this path they will be a force to be reckoned with.

Very classy, very good. Fine, brooding debut.

Author: Gizmo
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