Abysmal Dawn: Are We Not Gods, But For The Wisdom

In 2020, the world as we know it is one of ever-decreasing attention spans and an ever-increasing need for instant gratification. As such, for a band, especially a band far removed from the top level of the metal scene where the hype machine never stops, to take over half a decade between albums, it would be standard to expect the group to fizzle out and struggle to recapture the interest of those who followed them when their release schedule was a bit more regular. But ABYSMAL DAWN are no standard band, and rather than fizzling, their return with Phylogenesis is a triumphant barrage of some of the heaviest, hookiest death metal this year.

“We did a lot of touring for Obsolescence; we toured the USA four times, we went to Europe for the first time, and a quick South American run. We had some line-up changes too.” Frontman and creative driving force Charles Elliot says, explaining the huge gap between Obsolescence and Phylogenesis. “All the songs were written, at least at their core, and we recorded the rhythm guitars and drums at the end of 2017, but we didn’t have lyrics finished, we didn’t have leads finished or bassline written. Life just got in the way. We’re not a band going on tour all the time because we rely on it for income. It’s still a job, there’s still a business aspect, but we’re not relying on ABYSMAL DAWN to pay our bills. We can still just enjoy what we do, and take our time – we don’t have to shit a record out to pay a gas bill!”

Though it was a long time coming, Phylogenesis was certainly worth the wait. Crushing from start to finish, Elliot and co. never tone down the intensity, mixing brutal, technical death metal with infectious grooves and big, catchy riffs at every turn. And for Elliot, the technicality is a means to an end, rather than an end in itself.

“Phylogenesis was more on the technical side than Obsolescence. But while we get bunched into the tech-death scene, we’re not like NECROPHAGIST or OBSCURA,” Elliot offers, explaining the technicality he employs in ABYSMAL DAWN’s songwriting. “We dabble in that, but we have a more tradition, old-school approach. I feel like we have more emphasis on being heavy with hooks than just showing off with the tech stuff. There’s all these guys [in the tech-death scene] that can play millions of notes, but don’t know how to fucking use vibrato!”

There was a notable change of plans in the creation process for Phylogenesis. Initially, when writing the lyrics, Elliot had intended for this record to be a concept album – but the final product took a very different turn. “I had this concept in mind, but at some point I realised it was just fucking story. It turned out to be less of a story, and more just reciting scientific facts – there was no personal, human connection to it, so I shit-canned that idea.” Elliot explains his initial plan, and the direction he ended up taking. “I started writing lyrics on a more personal level. The lyrics tie into one overall theme, though it wasn’t on purpose, but I feel the lyrics encompass everything in modern society that makes people go insane, and how society does that to an individual.”

Despite an overall more personal theme of the album, Elliot did allow one more narrative driven track to slip through. “Coerced Evolution is more on the story side of things, and more of a dystopian sci-fi thing that we’ve done in the past with lyrics,” He explains. “It’s based around the idea that in the future, we won’t be able to sustain life on Earth. People will be forced to be uploaded into grids and live in a virtual world, while the rich can still walk the Earth. It’s something I think might be cool to work out a bit more, expand that into a sci-fi story.”

But while, lyrically speaking, ABYSMAL DAWN have taken a more realistic, personal approach to Phylogenesis, the artwork is as sci-fi-horror as ever, continuing the evolution they have had since day one. “Each cover, we try to build upon the last and tell a continuous story. It’s just become a tradition at this point,” Elliot details. “Phylogenesis was supposed to be inside the monolithic structure you see on the cover of Obsolescence, and what’s become of the humans that go inside the building. The creature is becoming a new form of life, draining people of their energy to become the next ruling class of being. Phylogenesis can mean the evolution of a species, and that ties into the artwork as far as the next form of life evolving on a planet. The title can also reflect on ABYSMAL DAWN, and how the band’s evolved for the better, or how humanity as a whole has devolved.”

So, ABYSMAL DAWN are back, and groovier than ever. The artwork is still layered in symbolism, going beyond the sci-fi horror of the surface. The lyrics are delving into the personal struggles of Elliot as he struggles to recognise the world around him. The music is absolutely eviscerating, skull-crushingly heavy at every turn. This is a very promising return for ABYSMAL DAWN – but are we going to be faced with another six year wait before the next record? “We’re gonna be all old and grey, fat and bald if we wait another six years. I’ve gotta put another record out while I still have the Metal God Bod!”

Phylogenesis is out now via Season of Mist. 

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