Sharing a name with one of the girls responsible for the death of many in 1692 Salem, Abigail Williams has been experimenting with a range of black metal styles throughout their tumultuous existence. With The Accuser, the appropriately named fourth full-length album from the group out of the northwest, we would expect a display of darkness and torment. Fortunately enough, that is exactly what we get at the most appropriate time of year.

As alluded to earlier, it has been a complicated ride for Abigail Williams. Forming in 2004, their career has been marked by breaks in 2007 and 2012. Now, in 2015, they return with their first full length album since reforming after their brief 2012 hiatus. Over the years, their sound has evolved from blackened deathcore into a far more atmospheric quality. Regardless of how they are categorized today, their sound is as appropriate as this album’s title. For a history lesson, Abigail Williams was a young girl that fronted the accusations of many during the Salem witch trials of 1692. These accusations led to the imprisonment and hanging of many. It is a dark place in our history, and the The Accuser fits this theme perfectly.

Opening with “Path of Broken” glass, we immediately get the darkest and heaviest Abigail Williams has to offer. Despite how impressive it is in its ferocity, it lacks much creativity, and becomes stale fairly quickly. Fortunately, this track is not a microcosm of the album overall. While this same intensity resurfaces periodically, The Accuser examines varying levels of suffering through differing tempos and styles. For example, the very next track, “The Cold Lines”, is far more deliberate in its delivery. Vocals that include growls, shrieks, and whispers, guitar effects, and added ambiance all create an encompassing sense of dread. Given how quickly this album erupted and how it settled with the next track, it’s a unique beginning.

Yet no sound remains consistent for long, as The Accuser tests a number of recognizable black metal styles. From the more traditional themes evident on “Of The Outer Darkness” or “Godhead” to the melodic rhythmic cadences of “Will, Wish and Desire”, there is a dose of everything. Complex, yet simplistic when necessary, it is a worthy display of ability in song writing and musicianship. To that point, working through the latter stages of the album, the progressive song structures becomes more apparent. “Forever Kingdom of Dirt” and “Lost Communion” both feature raw intensity, especially early, yet are coupled with time changes that bring in exceptionally melodic guitar passages and solos that add welcomed atmosphere. There is a lot going on, and it takes patience and focus to grasp everything formulating around us as an audience. Despite these complexities, The Accuser still finds a way to remain cohesive. There is an unwavering dark undertone that keeps the darkness and pain intact, regardless of what direction the music wanders in. There is a definitive personality to The Accuser, and plenty is done to keep it in the forefront.

The Accuser isn’t without its flaws, however. With as much integration as there is here, there are moments that can feel disjointed. For example, some of the initial time changes in “Forever Kingdom of Dirt” are less fluid, almost as if the songs’ direction is never fully established. For everything that makes this album interesting, there are moments that feel less natural. But it’s a natural side effect of an album as complex as this is. Fortunately, the closing “Nuummite” is an organized meandering display of ambiance and atmosphere, the polar opposite of how this album began, allowing for a moment of reflection, to absorb everything that had transpired. A respectable closer for a beast of an album, allowing the album to find its natural terminus.

Regardless of Abigail Williams’ history, they have never been a group to shy away from sound exploration and evolution, and that is evident here. Where many black metal albums can become boring in their consistency, The Accuser is constantly transitioning from one concept to another. While it isn’t perfect, the ambition pays off overall. They maintain a defined personality of darkness, pain, and depression from start to finish, yet never constrict their creativity both structurally and sonically. A quality release to welcome Abigail Williams back into the mix.

“Ein Bier… bitte.”
– Corey

The Accuser will be out October 30th on Candlelight Records. For more information on Abigail Williams, visit the band’s official Facebook page.