Bristol, U.K.-based Hateful Abandon are anything but a conventional black metal outfit. From the band’s founding in 2004, Vice Martyr (the band’s sole member at the time) has maintained an interest in genre blending. And following the enlistment of Swine, (from the eponymous Somerset, U.K., band) that concept remains alive and well on their third release, Liars/Bastards. In particular, there’s an obvious salute to roots anarcho-punk, including legends like Crass. There is something revolutionary about Hateful Abandon—something that, much like the best anarcho-punk bands, makes you feel part of the club.
The album opens with “Maze of Bastards” (a punk title if you’ve ever heard one)—not necessarily an angry sounding song overall, but the opening sample and the screaming vocals certainly back up the title. The second track, “Culprit,” is the album’s most electronic effort. There’s just a touch of the mid- to late-’90s euro-trance / house sound that gives this track a lovely bounce, making you feel a little less “alone in the fight”—whatever your personal “fight” may be.
The sonic exploration continues through the next several tracks: “High Rise” opens with a beautiful Middle Eastern voice singing an Arabic Maqam before descending into industrial, almost gothic pronouncements reminiscent of darkwave; then on “The Test,” we’re reintroduced to a more eerie, synth-driven pop formula, which slowly builds into an operatic drone replete with appropriate samples.
Then, things take a very welcome, spooky turn. On “The Walker,” we hear a cavernous, echoing horror soundtrack (complete with the sounds of chains scraping stone) give way to drums that almost mimic a chase scene. The darkwave style and almost gothic, Ian-Curtis-like vocals return to mock what sounds like a prisoner pacing through a stone cell. “There Will Never Be Peace” continues this vibe, starting out with even faster drumming and screamed vocals that act almost as an answer to the previous track. Faster, heart. Faster!
And then, we get “December”—the most cohesive single on the release, at least for its first four minutes. Early on, we hear a galloping beat and classic darkwave-style vocals that make for a pleasantly danceable tune. But then, things wrap up with a nearly-six-minute drone of cello and synth, with atmospheric support from the toms and, later, a synthesized horn section.
As you can probably tell, I loved this one. Normally at my age, when I hear electronic music or anything vaguely reminiscent of the music of my youth, I shut it off. “I’m too old for this,” I say. But not here. This is an album to listen to with loved ones. An album to stand the test of your time.
– Manny
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