Abyssic Hate ‎– Suicidal Emotions

Genre:
Style:
Year:

Tracklist

Depression - Part I 12:39
Betrayed 11:44
Depression - Part II 7:23
Despondency 17:32

Versions (10)

Cat# Artist Title (Format) Label Cat# Country Year
NC 039 Abyssic Hate Suicidal Emotions(CD, Album) No Colours Records NC 039 Germany 2000 Sell This Version
NC 039 Abyssic Hate Suicidal Emotions(LP, Album, Ltd) No Colours Records NC 039 Germany 2000 Sell This Version
olp-mc 008, 08 Abyssic Hate Suicidal Emotions(Cass, Album, Ltd) Old Legend Productions, Old Legend Productions olp-mc 008, 08 Poland 2001 Sell This Version
NC 039 Abyssic Hate Suicidal Emotions(CD, Album, Ltd, RP, Dig) No Colours Records NC 039 Germany 2004 Sell This Version
NC 039 Abyssic Hate Suicidal Emotions(LP, Pic, Album, Ltd, Num) No Colours Records NC 039 Germany 2004 Sell This Version
E.R. 004, Sunset 58 Abyssic Hate Suicidal Emotions(Cass, Album, RE, Ltd) Evil Rising, Night Bird Records E.R. 004, Sunset 58 Ukraine 2008 Sell This Version
NC 039 Abyssic Hate Suicidal Emotions(CD, Album, RP) No Colours Records NC 039 Germany 2012 Sell This Version
NC 039 Abyssic Hate Suicidal Emotions(LP, Album, Ltd, RP, Amb) No Colours Records NC 039 Germany 2012 Sell This Version
NC 039 Abyssic Hate Suicidal Emotions(LP, Album, Ltd, RP, Blo) No Colours Records NC 039 Germany 2012 Sell This Version
NC 039 Abyssic Hate Suicidal Emotions(LP, Album, RP) No Colours Records NC 039 Germany 2012 Sell This Version

Reviews Show All 2 Reviews

Add Review

AmiguousAmbivalence

AmiguousAmbivalence

March 5, 2009
referencing Suicidal Emotions, CD, Album, NC 039
An exploration of dejection and sempiternal desperation and its accompanying isolation in self-justified depression and misanthropic rejection. The incurable suffering which is the fundamental state of existence as necessary condition of all life is here felt as the product of an intentionally antagonistic world specifically designed to oppress and alienate. The suffering and misery explored through this music is personalized in subjectivity, resulting in a self-pity of an embryonic nature. A surrender to hopelessness as the deliverance of death whispers in the shadows. Though the deliverance can be hastened through self-termination, it is only the solace of such an act as a possibility within the sufferer's power which is reveled here, as the ultimate meaningless of the act is acknowledged, though here this is recognized without clarity and pure understanding, yet merely felt deep within, having not been adequately reflected upon.

Minimalist black metal employing repetition to induce the listener into a trance of delirium. Guitars are densely layered in fuzz-drenched distortion, presented loudly in the mix, as drums and vocals are relegated to a ghostly distance. Uneventful drumming serves only as a current of rhythmic foundation, performed with strict necessity as to what the music requires, and nothing more, for any embellishment threatens the hypnotic effect. Vocals are equally uneventful in tone and emotional dynamic, serving only as apparitional communicator of lyrics. Again, any elaboration expresses an enthusiasm which is entirely alien to the overall presentation.

"All means seemingly focus towards the end
There is no reason to live anymore when the reason cannot be attained."

An initial theme is introduced, followed by a restrained increase of energy supplied to this theme. Each sectional theme is purposely extended in duration and tensity to establish hallucinogenic ambience, as transitions to new sectional themes distinctly occur once the required effect has been produced. The central riff which defines each section, along with the commentary vocal phrase, sustains chronological succession, as each theme affirms itself through repetition. A suspension of established momentum occurs for the purposes of elucidation in reflection. This is occasionally free of drums and always of vocals, with only the layered guitars repeating chords for extended segments, until a rejoining of elements fleshes out the theme towards a discovery of a central intentional expression, which, once confirmed, ushers the composition to an extended fade-out. The essential idea of each song is always revealed through a gradual unfolding of layers, which makes for lengthy tracks which never identify a formal resolution in the shape of a conclusion, suggesting an eternal flowing which must of necessity grow silent after its point has been made.

The music is effective because it expresses depression and isolation adequately, meaning that it never even hints at an enthusiasm which is entirely alien to such feelings. The monotony of repetition portrays the static quality of deep dejection and disenchantment with life which is this music's primary theme. The colorlessness of the music and its total lack of artistic decoration aside from what is necessary effectively represents the hopelessness that fills the empty and useless days of one who has been stricken with such feelings to the degree here explored. The riffs and melodies are never angry or evil, but always reflective, melancholic, though never relaxed enough to introduce a feeling of peace and contentment with the portrayed condition. The album’s most impacting moment arrives in the penetratingly sad guitar melody during the near mid-point of "Despondency", which, along with the low vocal cry at this melody’s introduction, clearly and beautifully expresses the true intention of the album’s expression. Yet, because the music is such a convincing representation of the lyrical themes, it must also necessarily suffer from their delusion and lack of universal insight into the suffering of not only one individual, but the suffering of existence as a whole. The music never identifies a resolution because its creator has no answers, and suffers defeat at the hands of fatalism.

"But the solace lay beyond the darkness
In a land where light and life dwell
Yet soon will come death and the numbing fires
Only then will my mind lay to rest"

The minimalist, trance-inducing black metal of early Burzum and the monochromatic repetition of Brave Murder Day-era Katatonia are obvious influences, but the end result, while unified and effective, is far from the quality of either, because it lacks their transcendental aspects and keen insight. Thus its overall significance is limited to its aesthetic as a proper portrayal of its given themes, but stops there, as it has nothing to say of the universal, only the particular. The sleeve imagery and design is suitably sparse and colorless, as is the production, which lends the guitars a barbed-wire yet eloquent presence of sound and tone, forming the focal point of the music, with drums and vocals low in the mix. The dark ambient outro, provided by Raison D’Etre, following as it does four lengthy tracks of music from one particular realm, offers a somewhat detached yet appropriately haunting and claustrophobic closure to the disc, yet might have been better placed in the middle of the track sequence, since this would have more effectively emphasized its relation to the rest of the material.