War metal, bestial black metal, first-wave black metal – whatever you want to call it, the style has something of a bad rap these days. On a certain level, I can understand why. It’s not exactly the most forward-thinking of genres, and there hasn’t been all that much evolution in its overall sound in the last however many years. That being said, music doesn’t always need to be about reinventing the wheel. Sometimes all you really need to do is get in there and rip shit – which is exactly what Argentina’s Abominablood does on their latest EP Abomination Continues.
I had the opportunity recently to talk to Warpig Venomous Abominator, Abominablood’s mastermind, about the band’s history and the latest EP. So go snag a copy either on cassette from Putrid Cult or CD from Cyclopean Eye Productions, and then give it a read below.
Indy Metal Vault: Hey – thanks for the interview. I’ve spent a lot of time listening to Abomination Continues while preparing for this interview, and it’s a great record. It has that primitive feel that you’d expect from South American black/death metal, but there’s also an immediacy to it that’s pretty uncommon, so I’m excited to be able to talk about it. The EP has been out for several months now – what’s the reaction been like so far?
Warpig Venomous Abominator: First of all, I must express my obscure obeisance to your work here, expressing my benevolence at being able to cross the barrier of the space in which we are.
Answering your question, the impact of Abomination Continueshas been totally revealing and has opened innumerable new roads to this solo project. However, it carries with it the responsibility of surfing the web, and the fact that it is heard by people from in other places, mostly away from the where this work was born and perfected, generates a mantle of impenetrable energy for all kinds of dross that could attempt to be interference. In this respect, obstacles become challenges and opportunities.
The reaction at the level of propagation has been very fortuitous, based on exchanges and personal acquisitions in all parts of the world; the album has been exposed to various reviews and interviews as well as personal opinions described in blogs and other current communication media.
IMV: I’ve been able to find very little information about Abominablood online. Based on your Metal Archives page (which I know isn’t always accurate), I get the impression that the band is a solo project. Is that the case? If so, has it been that way for the whole of the band’s 10-year existence?
LWVA: Abominablood has, since its revelation, been an individual and personal work. For this reason, although there have been other passive members contributing session work, the revelation has manifested itself in a single being.
IMV: Even though Abominablood has been a band for a decade, you haven’t released much music: a demo and a split in 2010, and then nothing until the Subterranean Prophecy EP in 2016. You’ve picked up in terms of activity since then, though, with your first full-length The Rotten Smell of the Entities that Murmur coming out last year, and now this EP. I know you’re involved with other bands as well – is that why there was that long gap with no activity? Or is there some other reason that Abominablood has taken its time with releases?
LWVA: First let me clarify something in your question. After the first demo (2009/2010), a split was agreed to with Nihil Domination of Ecuador, called Two Satanic Conspirations (2011), followed by Inner Templ (2013), then Dark Creatures in the Vacuum of Dementia( 2015) and finally and in the same year, but before Subterranean Prophecy, ELEMENT (Purify in the Abomination) (2015) issued on professional cassette in the country of Bolivia.
Having clarified this, I must say that the absence of activity from 2016 to the present is due to two things. On the one hand, I found myself busy carrying out a diverse variety of projects: tours, editions, an album, works with my personal stamp, among others. On the other hand, the murmur that gave rise to this compilation was already beginning to take shape.
IMV: From a production standpoint, Abomination Continues sounds fantastic – lo-fi and dirty, but not so much so that you can’t hear the riffs. That’s a good thing, because there are a fuckton of great riffs on Abomination Continues. I haven’t seen any of the credits for the album – where did you record it? And since I’m kind of fascinated by gear, what did your studio rigs look like? How did you get that guitar tone?
LWVA: In the city where I live and its surroundings, we do not have a recording studio for dark metal, so the material is pretty homemade. It was recorded by a secessionist who, with few tools but with an ear developed for this style of music, has managed to perfect a sound similar to what Abominablood is looking for.
Moving on to your second question, the EP was recorded with very basic equipment, but equipment that emanates a blunt sound. The essence of the band is Black Metal, but it seeks a sound with a serious debt to the sound of bands like Carcass (the first album), Phlegm, Antichrist (Canada), Naked Whipper, Impétigo and other bands that influenced us since we got into this. In this style, the musicians must have good instruments, the bass and the guitar are fused together, the latter with thick strings, which allows us to lower the tuning and find the sound that represents us.
IMV: I’m curious about some of your lyrical themes. I’ve not seen the lyrics for the album, but the song titles reference Lovecraft, Satanism, what I’m guessing is Pazuzu, the Hindu goddess Kali-Ma, and other occult references. Is there any sort of belief system that influences your lyrics? Where do these references come from?
LWVA: For starters, it is difficult to explain what something is about when you have not dabbled in the material. I invite you to read the lyrics in such a way that you can achieve a good interpretation. Having said that, Abominablood, throughout its work, gathers an extensive list of external collaborators, which are present in the spiraling work.
It is a revelation that manifests itself constantly (with this I do not allude to physical influences), which results in a fusion between the music, the lyrics, the sound, and the aura that emanates everything mentioned in complement.
This is no longer a belief, of course. The belief is present, but it goes further, and now it is done.
Alluding to the references you mention, Lovecraft is a reference linked to the earthly part, Pazuzu is the plague, the one who has to play the dirtiest letter in this. Satanism is obviously present in everything since we are talking about the will of a individual, and Kali-ma is present in the ritualistic work, thus offering to extend the protections and knowledge to another geographical space, which suggests a very same growth in the work here in force.
IMV: The cover art for Abomination Continuesis really striking. Who was the artist, and how closely did you work with the artist on the concept for the art?
LWVA: It is a personal work, for the same as the words and music were created by the demonstrator Venomous Abominator, the cover was also, so it worked in a completely hermetic way.
IMV: What does the near future hold for Abominablood? Are you a band that ever plays live?
LWVA: What comes in the near future is the new album, which continues from this point in its process of refinement.
Abominablood has only played live once, and we can appreciate an extract of that abominating night in one of the tracks of the The Rotten Smell…compilation. At the moment, there is no interest in playing live.
IMV: Thanks again for being willing to answer a few questions. I like to leave the last word to the artists – anything else you want to add?
LWVA: Well, just to thank you for the support and for listening to what we are doing in these lands, to thank Cyclopean Eye who made the contacts for this interview, and to say to wait for the debut album from the band that they will surely like. We still do not know who will be responsible for the release…but we are very close, finishing the composing to getting ready to record the material. Abominablood must reach the ears of the most primitive sound and death metal worshipers, so they can contact us when they like at [email protected]