Aborted Albums (4)
What The Critics Say
When the Scandinavian countries became dominant in the death metal/black metal field, extreme metal generally lost a lot of the cartoonish irony and dark humor that grindcore favorites like Cannibal Corpse, Carcass, and Cancer were known for. Numerous Scandinavian bands that emerged in the mid- to late 1990s and 2000s brought a more serious-minded outlook to extreme metal; they were proud of both their chops and their lyrics (even though so many Nordic death metal and black metal vocalists love to render lyrics indecipherable). Aborted, meanwhile, is a European band that has managed to combine grindcore's irony with the technical prowess of Scandinavian death metal, and that approach continues to work well for them on Strychnine.213. This 2008 release is full of the type of twisted humor that Carcass and Cannibal Corpse were known for in the late '80s and early '90s, but musically, Strychnine.213 is far from a carbon copy of early-'90s grindcore. The playing is decidedly more technical, and tempo changes are frequent -- which is certainly quite a contrast to the late-'80s and early-'90s grindcore bands that played at breakneck speed 100-percent of the time. Think of it this way: Strychnine.213 is the musical equivalent of a goofy B-movie horror/slasher flick, but a goofy B-movie horror/slasher flick that has decent production values and doesn't go out of its way to appear low-budget. This 39-minute CD was not recorded with grindcore purists in mind; anyone who fancies himself/herself a grindcore purist should stick to early-'90s discs such as Cannibal Corpse's Butchered at Birth and Carcass' Symphonies of Sickness. But Strychnine.213 is a worthwhile demonstration of Aborted's ability to combine Scandinavian and non-Scandinavian influences with enjoyably brutal and darkly humorous results. ~ Alex Henderson, All Music Guide
'Slaughter & Apparatus: A Methodical Overture'
Release Date 2/19/2007
Tracks 11
Label Century Media
See Album Tracklist and Review
What The Critics Say
Although the title of Aborted's fifth effort, Slaughter & Apparatus: A Methodical Overture, actually resembles that of a Carcass album, it's fair to say that the statute of limitations for comparing these Belgians to the original masters of clinical death-grind (who had disbanded over a decade earlier) has officially expired. If not, then ex-Carcass man Jeff Walker's guest appearance on this record should, at the very least, serve as some sort of blessing, or passing of the torch, so that Aborted can just get on with their brutal business. In any case, getting on with business is what they do here, and the LP's title is certainly indicative of the quartet's inspired tightrope walk between the realms of unrestrained grindcore savagery and meticulously crafted death metal technicality. Take synthesizer-enhanced offerings (yes, synthesizers!) like "Avenious" and "And Carnage Basked in Its Ebullience," for example, or the harmony- and melody-rich (not quite the Gothenburg school, but close enough for comparison) title track and "Ingenuity in Genocide" -- none of this qualifies as your run-of-the-mill grindcore material. Also, as well as making you run for the dictionary, "Underneath Rorulent Soil" (Ro'ru'lent: having the surface appearing as if dusty, or covered with fine dew) boasts the coolest, atmospheric death metal intro/outro combo to be heard in a very long time. Finally worth calling attention to is how bandmembers Sven de Caluwé and Sebastien Tuvi alternate the guttural Cookie Monster growls traditional to both grind and death metal with more intelligible hardcore-style shouting throughout these 11 tracks, all to great effect. Ultimately, it's exactly these gutsy departures from restrictive grindcore conventions that have placed Aborted on many genre purists' hit lists -- much as they did the now much mourned Carcass, throughout their storied career, ironically enough. So, although there's something to be said for remaining unwaveringly loyal to one's origins, the ability to evolve should never be condemned when it breeds results as exciting as this. ~ Eduardo Rivadavia, All Music Guide
'The Archaic Abattoir'
Release Date 5/2/2005
Tracks 10
Label Listenable
See Album Tracklist and Review
What The Critics Say
Over the course of their first, tumultuous decade of existence, Aborted's career has ironically corresponded to the rampant carnage described in so many of their grind-gore songs; with the limbs of countless musicians figuratively left hacked on the killing floor as leader and vocalist Sven de Caluwé (Gurgloroth Sven to his friends) sought to assemble the ideal team of sonic butchers to wield instrumental knives by his side. But his long and bloody search seems to have been worth it considering his band's quite masterful, and one might add, not all that gore-reliant 2005 release The Archaic Abattoir. A virtual embarrassment of inspirational riches, in fact, Aborted's fourth full album avoids simplistic categorization by incorporating a broad range of lyrical and musical influences from across death metal's wide terrain. To wit, one can readily identify the work of mid-period Napalm Death (and really any number of other post-grind outfits) in the sludgy bottom-end-propelling hyper-technical displays of Suffocation-like proportions, and laced with the deft melodic touches of a latter-day Carcass. Sound appetizing enough? It likely wouldn't be were it not for the expert production job put in by Tue Madsen (Heaven Shall Burn, the Haunted, etc.), which finds a way to separate what could have easily turned into a blinding drum-and-guitar avalanche into distinct instrumentation, meaningful arrangements, and by extension, discernible songs. As such, initial standouts like "Gestated Rabidity" (neat harmonies), "Hecatomb" (unconscious riffing), and the spectacularly named "Threading on Vermillion Deception" (deserving of a prize for its title alone) are afforded absolutely crucial dynamic breathing room with which to get their hateful messages across. And, speaking of which, much credit in that last regard must go to frontman Caluwé, whose versatile vocal mix of screams, snarls, and growls -- however gurgled -- generally still manage to clearly enunciate his lyrics amid the mayhem (hear him wax crust-etic on the tongue-twisting "Voracious Haemoglobinic Syndrome" and serenade what may or may not be a corpse in "The Inertia") -- no mean feat. Throw in a few more discreet stylistic nods to Hatesphere's neo-thrash shouts in "Dead Wreckoning" and to Bolt Thrower's advancing inevitability in "The Gangrenous Epitaph," and there's even more quality death metal on hand, and additional good reason to single out The Archaic Abattoir as Aborted's finest hour thus far. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Gore-themed, speed-obsessed death metal in the year 2003? Songs about rotting flesh and botched medical procedures? Yes, Aborted is treading on familiar ground with its third full-length, Goremageddon, but the band could obviously care less. It gives off the impression that playing another kind of music -- say, one without disgusting song titles and constantly pummeling guitars and drums -- is out of the question. But like fellow "-ed" bands Exhumed and Impaled, Aborted approaches the genre with a mix of sarcasm, seriousness, and songwriting smarts that allow the group to pull it off, in spite of how worn-out the whole premise is. Aborted attacks with the ferociousness of a good hardcore band, but the group also knows how to write riffs that stand out and draw the listener in amid the 300 bpm drumbeats. Meanwhile, the grotesque, dive-bombing guitar solo on "The Saw & the Carnage Done" shows the band's expertise in yet another crucial category for bands in the gore metal field. In the grand scheme of things, Goremageddon is not essential, but it is well done and entertaining enough to recommend to fans of the genre. ~ William York, All Music Guide
