webzine

7 tracks compose the Moscow 3-piece's third album, once again with song titles and lyrics in Russian and Latin, once again recorded at the Primordial studio and released by the fellow citizen label.
Don't expect mid-tempos or violins, but keep in mind that there're new elements in this full-length, such as the beginning of the title track, deeply debtor to Carcass, or the following whispered backing vocals, making you shudder in fear; the arrangements also have been refined bringing the band to another league and that's vital when most of your tracks last 11 or 12 minutes.
The opening track immediately shows the differences with the previous records: the keyboards in all the album play a more important role and in this case they are as sinister as never before; what's more the guitar plots and the cemeterial guitar sounds of the two axes played by Hater (lead and rhythm), where the lead is slightly distorted, create enough variety during the long song development; in the final of the composition are distant Gregorian chants, too, but I can't be sure if they're actual voices or a keyboards effect.
Since the seven tracks are homogenous and often not separated by silence, it's correct to analyze the opus as a whole, nevereless at the same time it's in "Post Mortem" that the keyboard-player exhumes the year-forgotten Russian tradition of the funerary march; and it's there, too, that the deceased's families' moans gather the meaning of the style Abstract Spirit interpret. Top-notch is the central break and the mass funeral keyboards lines in the closure.
I had already some of these tracks in Moscow at the musicians' and on stage, I have listened to them again surrounded by deep snow, freeze and silence, and probably this has fostered my assimilation and song reception (especially of tracks like the blood-curdling "Pulse"), yet even in summer I would have claimed this is the best and most complete work by the Russian trio to date. The recording, mixjng and mastering were done again at the band's home studio and stresses out their huge ability in separating the instruments, but if it had been a major/big indie production, this album would have disrupted much of the foreign competition. It's unbelievable how they can get these results with such a tiny budget!
The three veteran artists are the oldest and finest formation of Funeral Doom/Death hailing from Russia and deserve far more respect and exposure from the international scene; today with "Horror Vacui" absolute pain has found a new domicile...

MARKUS GANZHERRLICH - Dec 12, 2011

	'*Horror Vacui' (Solitude Productions) MARK: 88/100*



	7 tracks compose the Moscow 3-piece's third album, once again with song titles and lyrics in Russian and Latin, once again recorded at the Primordial studio and released by the fellow citizen label. Don't expect mid-tempos or violins, but keep in mind that there're new elements in this full-length, such as the beginning of the title track, deeply debtor to Carcass, or the following whispered backing vocals, making you shudder in fear; the arrangements also have been refined bringing the band to another league and that's vital when most of your tracks last 11 or 12 minutes. The opening track immediately shows the differences with the previous records: the keyboards in all the album play a more important role and in this case they are as sinister as never before; what's more the guitar plots and the cemeterial guitar sounds of the two axes played by Hater (lead and rhythm), where the lead is slightly distorted, create enough variety during the long song development; in the final of the composition are distant Gregorian chants, too, but I can't be sure if they're actual voices or a keyboards effect. Since the seven tracks are homogenous and often not separated by silence, it's correct to analyze the opus as a whole, nevereless at the same time it's in "Post Mortem" that the keyboard-player exhumes the year-forgotten Russian tradition of the funerary march; and it's there, too, that the deceased's families' moans gather the meaning of the style Abstract Spirit interpret. Top-notch is the central break and the mass funeral keyboards lines in the closure. I had already some of these tracks in Moscow at the musicians' and on stage, I have listened to them again surrounded by deep snow, freeze and silence, and probably this has fostered my assimilation and song reception (especially of tracks like the blood-curdling "Pulse"), yet even in summer I would have claimed this is the best and most complete work by the Russian trio to date. The recording, mixjng and mastering were done again at the band's home studio and stresses out their huge ability in separating the instruments, but if it had been a major/big indie production, this album would have disrupted much of the foreign competition. It's unbelievable how they can get these results with such a tiny budget! The three veteran artists are the oldest and finest formation of Funeral Doom/Death hailing from Russia and deserve far more respect and exposure from the international scene; today with "Horror Vacui" absolute pain has found a new domicile... MARKUS GANZHERRLICH - Dec 12, 2011
	Current line-up: I. Stellarghost - backing v., choirs, keyboards Hater - g., b., choirs A.K. Iezor - d., v. Contacts: Moscow - Russia Official site: http://www.myspace.com/abstract_spirit Demo-/Disco-graphy: -Liquid Dimensions Change (CD - 2008) -Tragedy and Weeds (CD - 2009) -Horror Vacui (CD - 2011)