If you listen to metal for long enough, you will inevitably encounter at least one of a plethora of solo projects. The modern state of recording tools has only made that option more accessible with each passing year. On one hand, that ensures more exceptional creative voices are able to enter the fold and share a vision that would never otherwise be experienced. On the other hand, that means every jackoff with enough money and bad ideas can slop out a bunch of nonsense. Most one-person bands end up somewhere in the middle. The biggest problems you’re likely to encounter in a one-person circus are overindulgence and a lack of self-editing. Luckily, Bekor Qilish mastermind, Andrea Bruzzone, does not fall into that trap and managed to make album number three a tidy, fraught and engaging 30-minute affair. But, there must be SOME self-indulgence, right? Ok, well, Bruzzone is clearly a fan of Crimson II and Catch Thirtythree both in certain sonic choices and because this 10-track album is intended to be viewed as a single composition. It works, I swear!
Consecrated Abysses Of Dread has consistent undercurrents and influences, such as a steady diet of Krallice huffing angel dust, but each track does take its moment to shine. “No Solace At The Eschaton” hews closer to the Meshuggah influence with some guitar parts that have the cleaner, siren effect and squiggliness of Fredrik Thordendal. Roughly half of “Fatal Remedy Of The Unyielding Plague” is a deranged breakdown that sounds like the album is having a panic attack. While “Everlasting Advent Of Eternal Forms – Part 2” is not short on pummel, it also closes feeling almost grandiose. There’s a stretch on “The Harmless Mask Of Disembowelment” that sounds almost traditionally Japanese with the instrumentation. The synth-focused opening of “The Abyss’ Voice Grows Distant” is like a campy 80’s horror movie picked a fight with a buddy-cop film. While all of these moments give each track a distinct flavor, they never feel out of place or overly jarring when they come in.
Bruzzone may be the main maestro, but he also brought in some quality guest musicians to help bolster his work. In terms of some of the more recognized names from the guest list, Mick Barr (Krallice) contributes the previously mentioned lead on the opening track, and Lisa Voisard (Anachronism) and Gabriele Gramaglia (Cosmic Putrefaction) contribute an excellent array of vocals on the closing track to give it a violent death metal finish. Bekor Qilish should be credited for doing an excellent job in bringing in outside voices that retain their makers’ quality while still feeling like a part of the designed vision. You wouldn’t immediately assume a guest is present. The album does seem to rely on a drum machine/programming, which may be a deterrent for some. Perhaps one day Bruzzone will add a session drummer that can add some extra oomph to the proceedings, but I don’t personally view the programming as a shortcoming here.
All in, Consecrated Abysses Of Dread is a buzzy, strange and wily little adventure that’s perfect for the I, Voidhanger roster. It’s well-paced, giving listeners breathers from the chaos right when it’s needed, has an eclectic blend of influences, and was created by someone with the vision to know that at least some outside input and contributions would help elevate it. Why not get a little dissonant and weird in the middle of the week?
