Warthur On the debut album Abigor might have originally presented a front cover reminiscent of a second-rate trve kvlt black metal outfit out to mimic Darkthrone or whatever (later editions have somewhat more dignity), but the contents took a very different approach. Whilst their demos had been somewhat lo-fi, this was born of necessity rather than a deliberate and aesthetic, and as soon as they had their hands on a proper studio they used to craft this whirling vortex of black metal fury. Early-to-mid 1990s black metal tended not to put a high priority on musicianship, but Abigor were always one of the significant exceptions.

That said, there's a sense here that whilst a proper studio ended up giving them a lot of tools they were eager to use, they perhaps weren't yet ready to use them to their best effect; it's a very busy album and they are throwing a lot at the wall to see what sticks, but the mix sounds like it sometimes goes a little skewed and they risk losing their way. The next album would find them tightening things up considerably.

Warthur Abigor's second album finds them taking an intriguing, almost operatic approach to black metal which stands in stark contrast to the symphonic synthesiser-supported style that was explored at around the same time by the likes of Dimmu Borgir. Rather than broadening the variety of instruments used, Abigor instead added complexity to their music by crafting intricate riffs which seem simple enough to a casual listener but when you direct your attention to them they prove to have plenty of hidden depths. Gloriously atmospheric, as the best black metal should be, the album shows a band who have that rare combination of qualities: a willingness to experiment on the one hand and a refusal to be show-offy about it on the other hand, though this is a rough sketch of a style others would take further.

Conor Fynes 'Verwüstung / Invoke the Dark Age' - Abigor (6/10)

The early 90's were arguably the golden age for black metal, as anyone remotely familiar with the genre will attest. Abigor were a band that jumped on the bandwagon in 1993, and by the following year, their debut 'Verwüstung', or 'Invoke the Dark Age' was released. While much of the black metal years before had not amounted to much more than blastbeats and speedy chord work, Abigor used that mainframe to create something a little musically deeper. This Austrian trio takes the black metal aesthetic to the next level on the debut, although the journey is wrought with faults.

Some black metal bands who did something 'new' with black metal could be often defined in one word. Emperor, for example, brought the 'symphonic' sound to black metal. Abigor are not truly innovators, but they are taking a number of different fresh elements and sweeping them together. Among those, Abigor brings Teutonic chanting, orchestral flourishes and folky acoustics to light. Each of these is done fairly well, particularly in regards to the acoustic guitar playing, which remains subtle. Sadly, the rest of the progressive ideas that Abigor brings to the table are somewhat gimmicky. The fake orchestra sample only appears for a brief moment, and jarringly so. It's moments like this that rob the excellent concepts of Abigor of some of their prowess.

In terms of songwriting, 'Invoke The Dark Age' is best defined by a series of great moments and ideas, rather than overall structure and composition. Abigor's sound is divided between the unconventional elements, and a straightforward black metal sound reminiscent of their Norwegian contemporaries. In regards to atmosphere, Abigor lack the resonance of Mayhem, or the epic gloom of Burzum. One aspect Abigor does excel in is their performance, however. The production is painfully typical, but the guitars and drums play beyond many second wave black metal acts. Thomas Tannenberger displays a profound use of the doublekick, and Peter Kubik's use of melodic guitar lines and powerful solos is very beautiful. 'Invoke The Dark Age' is a very good black metal album, but as one could guess, Abigor would still had much to learn here.

Conor Fynes 'Ash Nazg' - Abigor (2/10)

Forming earlier that year, Abigor's 1993 'Ash Nazg' demo was the Austrian black metal outfit's first semi-official attempt to get their musical ideas onto a recorded medium. While Abigor's first full-length 'Verwustung' would demonstrate a firm grasp of the black metal style, this demo sees Abigor rotting in a barely audible lo-fi dungeon. While I would say that 'Ash Nazg' will satisfy the diehard fans of the band, it will likely repulse anyone and everyone else.

In terms of songwriting, each of these three tracks does have potential. The central riff of 'Dance Of The Dead' has got some beauty to it, and the band's use of medieval samples creates an interesting atmosphere. As is normally expected for a demo, the sound quality and performance here is poor. What makes 'Ash Nazg' verge on the brink of 'unlistenable' is its recording standard and sound. Black metal often prides itself on a bleak, lo-fi sound, but the music is almost entirely obscured by blatant recording errors, and a mushy mix that turns T.T's drumwork into a disappearing act. 'Dance Of The Dead' is the only song of the three which manages to get out alive, although it is scarred, bruised, and badly beaten.

The music here would show potential if it was not murdered by a painfully weak execution. The dreadfully out-of-tune guitars and washboard production far outweigh the mildly interesting acoustics and samples Abigor has to offer here.

Conor Fynes 'Orkblut - The Retaliation' - Abigor (6/10)

Caught in between the dedication necessary to come out with another full-length, and the quick one-take demos they had done so many of, Abigor released 'Orkblut - The Retaliation', a mini- CD that met some acclaim and success when it was released in 1995. Although being little more than twenty minutes long, a similar quality to that which Abigor would employ on their full- lengths is here, making the album a good, condensed equivalent to a typical forty minute journey with the band. Abigor do not innovate much here, but there are enough fresh and exciting ideas woven into their traditional style to make 'Orkblut' stand as an engaging listen to this day.

Most notable of a sound for this band are their use of flutes throughout the EP. Split into a number of smaller interlude tracks, flutist Rune adds a tranquil, arboreal tinge to what is otherwise a fairly dark piece of melodic black metal. With half of the songs on the album being over within a minute, there is the sense that 'Orkblut' is meant to be listened to from start to finish, and in that respect, it works quite well. Abigor have created an interesting sense of flow for their music. Emperor would be a good comparison for the black metal sound of Abigor; although maintaining a dark atmosphere throughout their music, Abigor are able to weave some nice melodies into it, through use of guitar. The melodies are not particularly memorable, but they are a nice contrast to what would otherwise be a pure descent into darkness.

'Orkblut' is one of the band's first truly good releases, and they would get better from here. Abigor don't have the same innovative awe as a band like Emperor or Mayhem, but this Austrian act commands a similar sort of power in their music. 'Orkblut' is not an excellent album, but at last, their talent as musicians is finally able to shine through.