ALBUM REVIEW: Ikigai – Abiotic

Visceral. Relatable. Renowned for being one of the fastest growing Florida-borne tech death bands since their inception in 2010. ABIOTIC have not only come back from a five-year hiatus, they have come through – and in Ikigai, the five-piece have provided both the old-school fans and newcomers alike a heightened glimpse into their very reason for being.

Between the usual omnipresent modern-day horrors like politics and war, not to mention Coronavirus’ continued decimation of the music industry as a whole, ABIOTIC re-emerged at a incredibly challenging time for artists. And despite an undeniable appreciation for outer space and the extra-terrestrial – as evidenced on debut Symbiosis and the hyper-shred-cum-metallic maelstrom of progressive space odyssey-esque Casuistry (2015) – Ikigai is the sound of a band now favouring the relatable over the fantastical; as the five-piece observe the current state of humanity.

One might say that there’s now a degree of irony attached to that aforementioned debut considering what has transpired since. With the release of this long-awaited comeback and a rejigged lineup – which includes SCALE THE SUMMIT’s Killian Duarte and drummer-cum-engineering aficionado Anthony Simone – you could easily argue that this is a band achieving that very moniker.

And with its potent fusion of old school tech death balanced with progressive jazzy elements and rich flourishes of Eastern-inspired instrumentation across eleven tracks, Ikigai is unequivocally representative of a band aiming to push their musical boundaries further than ever before. Whilst the feral explosion of aggression coursing through crushing lead single Souvenir of Skin – which features THE BLACK DAHLIA MURDER’s Trevor Strnad (the first in a slew of impressive guest spots including ARCHSPIRE’s Jared Smith and ENTHEOS vocalist Chaney Crabb) – will sate the appetites of those yearning for the heavy yet memorable and intrinsically technical, this crushing example is merely the tip of the sonic iceberg. A more in-depth listen reveals a focused onus on song-writing, with relatable subject matter such as abuse, suicide and transphobia rising to the lyrical surface. And with an album title that translates as “a reason for being” alongside that striking cover image of a bleeding 16th Century Samurai, one could easily interpret a conceptual element at work; or at least see a band with a story to tell via their music.

Instrumental opener Natsukashii gently caresses the senses via a rich tapestry of Eastern-inspired melodies and traditional instruments; all of which pay homage to the Japanese culture ABIOTIC are drawing from. Elsewhere, these influences emerge between frenetic arpeggios, furious blastbeats and manifest themselves with the intermittent and brooding keys on title track.

That previously mentioned concerted effort – and talent for – songwriting really takes centre stage on both Horadric Cube and Grief Eater, Tear Drinker. With the former, there’s an undeniable intensity resonating from both vocalist Travis Bartostek and powerhouse skins pounder Anthony Simone; their combined strengths marking this a “standout moment” on the album. Dynamic and captivating, FALLUJAH’s Scott Carstairs is on hand to delight any guitar aficionado thirsting for technically driven twists and turns, delivering a wailing solo of epic proportions whilst the band illustrate their innate ability to gradually layer elements and melodies for maximum impact.

But it’s Grief Eater, Tear Drinker – an introspective journey touching on mental health and the emotional toll that our current times can take on humanity – that truly astonishes. Featuring a stirring array of vocals from ex-THE CONTORTIONIST vocalist Jonathan Carpenter, the eye-popping juxtaposition between his cleans and Bartostek’s demented howls place this track somewhere between a brutal assault and haunted metal maelstrom.

Caustic yet cohesive, real and relatable in every sense; ABIOTIC have crafted an emotional rollercoaster of visceral intensity in Ikigai, and ended a five-year hiatus by returning to career-defining form.

Rating: 9/10

Ikigai is out now via The Artisan Era. 

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