REVIEW: ABORTED – “Termination Redux” [EP]
Belgian death metal band Aborted has come to be known as a prominent group within extreme metal in the 21st century, due to the band’s ability to pump out eight full-length studio records in the span of 15 years, alongside a number of EPs. The most recent of those EPs is ‘Termination Redux’, scheduled for release in 2016 via Century Media Records.
The extended play contains a total of five songs, the first of which is entitled “Liberate Me Ex-Inferis”. Lasting for approximately thirty-one seconds, the track serves as both an appropriate and eerie introduction to the release due to the fact that it revolves primarily around some sort of commanding authoritarian voice followed by some sort of screaming. It encompasses nothing less than a poignant way of kicking off the EP, considering the type of music Aborted plays.
The first proper track on the ‘Termination Redux’ EP is the title track “Termination Redux”, which with a running time of three minutes and twenty-eight seconds is bolstered by incredibly clear production, bringing each of the band’s separate musical components to life and giving each of them their individual time in the spotlight. Vocalist Sven “Svencho” de Caluwe’s delivery all throughout the track is particularly impressive, complementing the rest of the instrumentation in a positive manner. His black-metal type screams – a departure from his usual guttural growling – about two-thirds of the way through the song help build important atmosphere alongside the technicality of the riffs by guitarist Mendel bij de Leij.
Following the title track is “Vestal Disfigurement Upon the Sacred Chantry”. Opening with a short blast of drumming from Ken Bedene, his rhythmic patterns as an especially talented percussionist carry this song from beginning to end, serving purely as a basis for Caluwe’s heavy vocals and Bij de Leij’s guitar work. A nicely implemented guitar solo which kicks in towards the end of the track paves the way for more frantic drumming and growling from Caluwe and Bij de Leij before the song reaches its sudden conclusion.
The second-to-last track on the ‘Termination Redux’ EP is entitled “Bound in Acrimony”. A catchy rhythm section, once again containing plenty of technical heaviness, opens the song before the brutally extreme vocals position themselves front-and-centre and become the most prominent feature. The time signatures applied in this song by Bedene are also interesting, showcasing his talent and ability as a musician to come up with unique fills.
‘Termination Redux’ approaches its end with the final track “The Holocaust Re-Incarnate”, which features the EP’s catchiest introduction so far across all of its individual songs, meaning that the enjoyment factor across the material on the EP doesn’t rise and fall throughout its entire duration, which is a very positive. The instrumentation on display here – once again partnered with interesting time signatures and breakdown sections which will make you want to bang your head – further the enjoyment factor of this track. Special nods should also go to the guitar solo in this track, as well as Caluwe’s vocal patterns which remain excellent all of the way throughout the song as a whole.
Aborted’s ‘Termination Redux’ is highly recommended for fans of death metal, and particularly technically proficient extreme metal, as it kicks off what hopefully is another satisfying year for heavy metal releases.