Abramelin - Sins of the Father

Change is as inevitable as death and taxes. For Australian Death Metal band, Abramelin, their founding member, Tim Aldridge departed during the songwriting process of their fourth full length, Sins of the Father. The rest of the band, led by vocalist Simon Dowler, tried very hard to keep Tim on board, but eventually they needed to cut ties. This patience and willingness meant that Sins of the Father was delayed by a year. But, Abramelin moved on without Tim, yet the results are still pleasing, and a little different.

Matt Wilcock (The Berzerker, Werewolves, Akercoke, Shotgun Mistress) wrote nine of the ten songs on Sins of the Father, with bassist Rob Molica writing the brilliant Last Rite. With less cooks in the kitchen, the album flows better than their most recent release, Never Enough Snuff, which was a brilliant album, and a highlight from 2020, but you can hear a more consistent brand of songwriting developing, led by more groove, higher bass and infectious hooks. Opening song, “Conflagration of The Dreamers” is the immediate example of this, while frenetic in pace, the song settles around key riffs expanding like a flame, pulling no punches, it is everywhere but it is controlled, whereas at times, the compositions on Never Enough Snuff did the opposite. “Conflagration of the Dreamers” is a spin off to “Flesh Furnace” from Deadspeak, and we see what has happened to the murderous pyro, years later, obviously still honing his craft, and setting fire to those that sleep.

“The Gory Hole” (title of the year) opens slightly slower in pace than “Conflagration of the Dreamers,” but equally as damaging. This is a glorious song, vile in its approach and delivery. The song gallops along in sinister fashion with Simon providing his best ever performance. His vocals have improved on the album, and this song is a fine example. The recording of Simon's vocals was a collaborative effort, and that shows. It is great to hear the small variations in his delivery, but they are always pronounced with vigour and spite. Lyrically, it is filled to the brim with gore as always. While the Splatterpunk style is filled with depravity and horror with no limits, it is still believable, because his writing is so good. The insect behind the ‘Gory Hole’ ripping through genitals, and harvesting human seeds is the highlight in a long list of brilliant lyrical moments across the album.

The compositions move along at pace, never meandering and never losing momentum. “Last Rite” is an evolution, opening with a mid pace heavy metal vibe and searing melody, the track intensifies, moving into savage territory, the satanic gates of hell swinging ajar. Matt’s solos are perfect, always suiting the songs and the placement of them and their duration is a testament to his skill and how good of a songwriter he has become.

Matt and drummer Dave Haley (Psycroptic, Werewolves, Ruins, and many more) are a formidable duo, having honed the way they work with each other on an annual basis over the last 5 years of Werewolves releases. That creative relationship shows here, the two being in total synch. Matt providing Dave the guitar tracks alongside a click, and letting Dave go to work, with complete trust.

The album has been mixed much more evenly here than Never Enough Snuff, the bass being the target, getting a welcomed volume raise, even if my speakers despise it. Dave's brother Joe mixed and mastered the album, and has joined the band as the second guitarist, further solidifying the relationships Aussie bands like Psycroptic, Werewolves and Abramelin have with each other, it really is a metal scene in Australia like no other.

I really enjoy the gloomy riff that appears in the back end of the title track, giving it added mood. “Shell of a Man” is a ghastly four minutes, showcasing Simon's vile approach to writing a lyric. “Deceased Estate” is also a spin off/sequel with it following “Humble Abode” from their debut release. This provides a lyrical through-line, and shows the thought that Simon puts into his storylines. It also breathes new life into the characters and the songs themselves. What has come before is not so linear anymore.

There is not a lot of distinction across the last three songs, but they are all delivered so well that it doesn't matter - they are not bad songs at all. Overall, this is Abramelin’s finest achievement so far, however I don’t think they are just finished yet. The album is more memorable and cohesive as an album, as an overall experience. One of the best Death Metal releases of 2024, certainly one of Australia's best, raising Werewolves one. Killer release! straight into the rolling Top Ten of 2024!