Ad Infinitum – Abyss
Release Date: 11th October 2024
Label: Napalm Records
Bandcamp
Genre: Symphonic Metal
FFO: Kamelot, Amaranthe, Within Temptation, Xandria.
Review By: Jeff Finch
Considering the wide array of musical genres in the world today, it’s no wonder there are so many differing musical opinions, as the combinations of music can probably yield a nearly infinite combo of genres: Zeal and Ardor combined Black Metal and African American spirituals, Rage Against the Machine (and others) combined hip-hop and metal, and the list can go on ad nauseam. Though not nearly as unique as these others, Ad Infinitum combines a few different backgrounds that generate an album, and an overall sound, that appeals to the portion of listeners that like their music catchy, this new album Abyss just another notch in their belt that, for better or worse, cements their legacy.
The band is described as a symphonic metal band, and there are elements of that present on the album, but unlike a band like Fleshgod Apocalypse, the symphonic elements aren’t the personality of the band; at least on this album, they’re merely an appendage, as the band is focused on being an upbeat, catchy, punchy group with excellent production values and a clean, polished sound. Piano and strings can be picked out at intervals but aren’t loud or vibrant enough to truly stand out and make a difference in the song, relegated to background noise in the same vein as the rest of the instrumentation, certain exceptions making their presence known. But what the band lacks in memorable moments, they make up for in present-moment enjoyability.
Of note on this new album, my first with the band, are the vocals: lead vocalist Melissa Bonny has a powerful set of pipes, reaching high notes worthy of a top 40 charting and low growls that would make any metalhead proud. The opening moments of My Halo are ripped from pop radio, the syrupy sweet vocals bleeding right into the rest of the song, that initial beat sticking around for the duration, following Bonny wherever she goes, taking a brief reprieve during the chorus, which stands as one of the catchiest moments of the song (and album). A breakdown with deep growls is teased for a few moments before the band finally explodes with energy, chunky riffs and thudding percussion providing the soundtrack to the shift before resting on their laurels and going back to an a cappella version of the chorus.
Piano briefly catches our attention on Outer Space before it’s ripped apart by an immediate bout of growls, the song using samples to sound very nu-metalish for a spell, shifting over to their vocal-driven approach, music merely existing and adding little that’s interesting but not really required, especially when Bonny busts out the growls, short spells they may be. Euphoria begins with programmatically altered vocals that transition into a soaring guitar lead with punchy bass, all preceding a complete disappearing act for a time, the only focus being the pop vocals with electronica and synth elements. That the bass can be directly heard throughout the song is a huge plus, but the songs seem to meander through the same refrain which, while catchy, just can’t hold a listener’s attention. In a moment of welcome surprise, military drumming leading into a guitar solo towards the tail end of the song is just the burst of energy the track needed to break up the monotony.
Anthem for the Broken opens with vibrant, noticeable piano to accompany the vocals, the band kickstarting with vigor, a post-hardcore bass line rumbling along, drums giving a bit of a stutter step, a few beats then a pause, the chorus one that immediately latches itself onto your mind and doesn’t let go. The song really has a perfect post-hardcore sound going for it, one of the finer moments on the album, no part of the song making a listener drift off, the tribal drums and guitar solo at about the 75% mark something the band should have used more frequently.
Album highlight Parasite opens with the longest spell of Bonny’s harsh vocals, the reminder always welcome and used sporadically enough to keep listeners longing for more. Luckily for us, this track is virtually unrelenting; double bass, triplet riffs, and that mammoth growl are peppered in, treating us to metal surrounded in a candy coating. The numerous shifts in the song, from the growls to cleans to the soaring solo towards the end of the track, maintain a listener’s intrigue for the entirety, proving to be one of the songs that shows the band at their absolute best and where they should focus their efforts.
It may sound like I wasn’t a fan of this album by what has been said here, but that’s not quite the truth. The album is enjoyable and catchy, of that there is no doubt. The symphonic elements aren’t there to wow or stand out, merely to be an add-on when needed; musically, outside of a few moments scattered throughout the album, there’s little here to really sink your teeth into, and if that was the goal of the band, so the focus was primarily vocal, then they succeeded. Melissa Bonny has an incredible vocal range, from pop cleans to metalcore growls, and clearly acts as the highlight of this album. If the band shows up a little more on their next one, there might be more to hold onto, but even so, the vocal performance is more than enough reason to recommend a listen or two.
(3.5 / 5)
