Death Metal these days doesn’t really give me a whole lot of hype, but that doesn’t mean that I haven’t ever been fond of the genre itself. I always pay my respects to the likes of Death, Arch Enemy, Bloodbath, and these guys – Aborted. Having released a number of all killer no filler LPs for the last couple of years, the Belgians have returned another two years after “Retrogore”, and upped the ante with their tenth full-length known as “TerrorVision”.

After a couple of mysterious, haunting pianos and gritty synths whisper in Lasciate Ogne Speranza, we are immediately treated to an onslaught of technical finger-work on the strings and some furious blastbeats in the title track TerrorVision. From here on in, Aborted get ugly and perilous with the album, providing it with a vast amount of intricacy within the instruments and the production of the entire package. While every song isn’t entirely different from each other, and being another product to 21st century death metal, one after the next, each track initiates a different a pattern in resonance and give a lot of character to the overall commodity. Going from Farewell to the Flesh to something like Vespertine Decay, despite following the genre’s formulaic approach, Aborted’s methodology revolves more around the atmosphere and disposition than the sound.

But, looking at the songs in general, you can find a lot of them to share the same vitality and potency while sticking to their own progression and persona. Some noteworthy highlights include the apocalyptic settings of Vespertine Decay and Squalor Opera, the teeth-grinding speed of A Whore D’oeuvre Macabre, and the skilful string work on Visceral Despondency. The guitars between Ian Jekelis and Mendel bij de Leij, along with the rhythm between Ken Bedene’s percussion and Stefano Franceschini’s bass are all evenly matched, and the craftsmanship on all compositions devised by said musicians has dramatically grown in the last two years since “Retrogore”. The essence that’s displayed within the record makes the musicianship and talent a lot more transparent and feels a lot more fluid between everyone.

As the title suggests, the record focuses itself on the media falsely portraying itself, and is secretly influencing the world in such a negative way with what is being displayed on our screens and newspapers, as well as the anxieties of what could possibly be plotted at this point in time. Instead of depicting something from the likes of serial killers or writing up some fictitious horror plotlines, Aborted have instead chosen the route that seems the most realistic to humanity. With the delivery of Sven de Caluwé’s guttural and devilish vocal range, he can truly make the fear that he speaks of really come to life in a clearer perspective.

Like I said, even though that death metal doesn’t really interest me that much, I find Aborted to be a whiff of fresh air in this case. Whether you’re a long-time fan or a casual listener of either Aborted or the death metal genre, you’ll find a lot of their material to be rather refreshing no matter how many listens you give them. But, to really close this off, “TerrorVision” is worth more than just checking out and listening to. It’s best to really give it a good analysis from top to bottom, not just on its lyrical side, but also on its production and recording value.

Pre-Order your copy of ‘TerrorVision’, out September 21st via Century Media, HERE!