Absu
Absu

THE REVIEW

The expression "Mythological Occult metal" probably doesn't mean much to the average listener. However, it holds more significance for fans of the Texans Absu, as it is not only the title of their 2005 collection but also how the band's leader Proscriptor McGovern has defined their music. Well, after eight long years since the gem "Tara" (2001), Absu finally return with another work that rightfully fits into their personal genre: "Absu".

Just listening to the first three tracks is enough to realize that since "Tara," it seems not eight years have passed, but eight months: the Texans present the consumer with the classic combination of Black and Thrash metal, disappointing those who expected a completely reinvented sound (a more than plausible hypothesis, given the numerous changes in the lineup). What immediately stands out is the high assimilability of the tracks, mainly made possible by Proscriptor's expert drumming, which is milder than in the past but still overwhelming. The leader of Absu also delivers an excellent vocal performance with his screams, occasionally supported by bassist Ezezu ("Between The Absu Of Eridu And Erech"). The themes addressed once again focus on ancient mythology , with a special emphasis on Sumerian mythology.

At this point, it's reasonable to wonder if "Absu" is the classic album full of great tracks but devoid of any trace of originality. Just describing two emblematic tracks is enough to convey how this is absolutely not the case. "...Of The Dead Who Never Rest In Their Tombs Are The Attendance Of Familiar Spirits", probably the best track of the album, features, in addition to choirs, a synthesizer that captures the listener, trapping them in a delirious spiral, and concludes in a whirl of disturbing and shrill noises. "Those Of The Void Will Re-Enter", on the other hand, surprises the consumer with a delightful interlude dominated by the piano. It can be said that with the first three tracks, Absu aimed to reassure their fans, but the true spectacle begins only from the fourth song ("Nunbarshegunu") onwards.

So, Absu have returned with an album that, besides featuring contributions from prestigious guests (Blasphemer from Mayhem, among others), exiles the listener to the crystal city on the cover, evoking a magical and diabolical atmosphere, impossible to break and perhaps a bit marred precisely by the band's characteristic Thrash. In essence, another more than valid work, and let's hope that it takes the Texans a little less time to conceive the next one.