In the Shadow of a Thousand Suns by Abigail Williams
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Release date : October 2008
Reviewed by Mark Fisher
Background information
Review
Background information
In late April 2007, six months following the issue of explosive debut EP Legend, it was announced that Phoenix, Arizona's Abigail Williams had split as the result of lineup problems. To the chagrin of countless individuals, North America's greatest hope for Symphonic Black Metal legitimacy worldwide had vanished before it ever had a chance to succeed. Later in the year however, it was revealed that the group had reunited. At Peabody's Downunder in Cleveland, Ohio, the outfit's first show since reforming paired them alongside Enslaved, The Faceless, Arsis, and The Agonist. In early October, a pre-production version of the track “Empyrean: Into the Cold Wastes” was made available for streaming via the group's official MySpace page. From mid November to mid December, Abigail Williams toured North America as part of the Death by Decibels tour package alongside Vader, Malevolent Creation, Cattle Decapitation, Light This City, and Veil of Maya.
In mid January, it was announced that Kai “Trym Torson” Mosaker (part of Zyklon, and erstwhile member of both Emperor and Enslaved) would mainly handle drums on Abigail Williams' inaugural full length. In early March, In the Shadow of a Thousand Suns was unveiled as the album's title. With engineer Thorbjørn Akkerhuagen, Mosaker laid down tracks in Notodden, Norway at Akkerhaugen Lydstudio. Following this, the album was produced by the legendary James Murphy (who's previously recorded as part of Death, Testament, and Obituary, as well as producing material by the likes of Dååth, Resurrection, and Rise) at the man's own SafeHouse Production studio, where recording continued, and mixing occurred. Drums upon “Floods”, “Acolytes”, and “Empyrean”, meanwhile, were handled by Samus.
In mid July, new track “Into the Ashes” was available for listening via MySpace. For one whole month beginning later in July, Abigail Williams toured North America as part of the Thrash and Burn package alongside Darkest Hour, Parkway Drive, Misery Signals, Winds of Plague, Stick to Your Guns, Arsis, Arsonists Get All the Girls, and After the Burial. Following this, the act toured through to mid September as part of the Summer Slaughter Europe package alongside Suicide Silence, As Blood Runs Black, Born of Osiris, Annotations of an Autopsy, and The Berzerker.
Review
Boasting massive sonics, In the Shadow of a Thousand Suns belies both the age and home country of these future Black Metal legends in Abigail Williams. Producer James Murphy's presence is immediately felt, yet doesn't overshadow Abigail Williams' unique sonic premise. From “I”'s opening symphonies to brutal inaugural number “The World Beyond”, Murphy's penchant towards capturing brutality expertly collides against this young group's apparent love of sonic dissonance. This consequently merges philosophies both old, and new. Of this, “A Thousand Suns” forms a great example; clean, harmonic vocals fuse against dark, demonic intonations, an approach similarly exercised by groups such as Dimmu Borgir and Cradle of Filth. Williams feels affection towards the latter breed of Black Metal superstars, and both “Smoke and Mirrors” and “Flood” profess such feelings - particularly, “Flood” is sonically impressive. The tune's keyboard work ventures far beyond an expectedly haunting atmosphere; courtesy of a wondrous piano section, an introduction to Classical music's landscape is undertaken. Upon more than a mere lone occasion during the cut's five minute and forty-eight second tenure, this piano section steals the limelight.
Whilst groups such as Dissection, Dimmu Borgir, and Cradle of Filth happen to be blatant influences, In the Shadow of a Thousand Suns' concluding track, namely “The Departure”, substantiates the fact that much more than Black Metal bombast lies within Abigail Williams. The number exhibits crushingly aggressive ingredients, yet additionally possesses, melodic, traditional Metal guitar aspects. As a matter of fact, it could be successfully argued that those very same guitars genuinely drive “The Departure”. Furthermore, the tune demonstrates both atmospheric bridges and lead guitar work which transcends any stylings the Black Metal genre has spawned to date. “The Departure” provides a glimpse as to what Black Metal could become, albeit in the correct hands.
It's quite a surprise that a North American group, let alone one who hails from the state of Arizona, could author such a beautiful masterwork, but credit has to be duly given. In the Shadow of a Thousand Suns is original, intriguing, and well-produced, not to mention expertly crafted. Where the full length is historically situated amongst the Black Metal lexicon will only be determined by the passing of time. At the time of writing however, In the Shadow of a Thousand Suns is an essential purchase for longtime admirers of the genre, or young Metal fanatics seeking to find joy in the genre.
