Absu’s debut album, “Barathrum V.I.T.R.I.O.L.” was, in many ways, a mystical fusion of extreme metal genres that utilized the murky gloom of death metal to complement the occult atmosphere of black metal to an incredibly effective degree. The follow-up to “Barathrum: V.I.T.R.I.O.L.”, “The Sun of Tiphareth”, however, showcased a change in sound for the Dallas metal masters, jettisoning the death metal elements in favor of a magic(k)ally-inclined breed of black/thrash that stands as one of the best Texan underground metal albums ever (a similar case could be said for, well, Absu’s entire discography). Drawing influences from acts like Bathory, Zemial, and progressive rock, “The Sun of Tiphareth” is a mission statement of mythological occult metal that is relentless in its riffery, and should be well-examined by any extreme metal aficionado.
The album wastes no time in declaring Absu’s intentions, as the eleven-minute “Apzu” serves its purpose as a masterfully-composed epic with all elements of Absu’s sound contained in the span of one song. Titanic yet terrorizing riffing, Proscriptor McGovern’s wicked drumming, and even an atmospheric break with clean female vocals (evocative of “…Descent into Acheron (Evolving into the Progression of Woe)” from “Barathrum V.I.T.R.I.O.L.”) – all of which serve as important elements to Absu’s sound, especially on “The Sun of Tiphareth”. From then on, the album maintains its superb display of mythological occult metal with a diverse arrangement of tracks that feature excellent displays of extreme riffing that cover all the bases in terms of metal songwriting. Lyrically, drummer/vocalist Proscriptor McGovern proscribes mythology-based tomes to provide an interesting counterpoint to many black/thrash bands, and oftentimes one will find themselves studying the lyrics to further understand the concept of this album – always a bonus in extreme metal.
Variation is key on “The Sun of Tiphareth”, as no two songs on the album can be stated to be identical to each other. You have everything from thoroughly composed epics such as “Apzu” to the shorter, mostly instrumental “Cyntefyn’s Fountain” (with a wicked clean guitar break against a backdrop of crashing guitars in its outro) to the straightforward thrash of Morbid Scream’s “The Coming of War”, with its instantly-recognizable main riff that carries the piece for well over the first minute of the song without giving off an impression of overstaying its welcome. Sometimes, the echoed rasp of Shaftiel will guide the listener through the quest of Tiphareth; other times McGovern’s King Diamond-esque wail will shriek out tales of mythology while simultaneously performing progressive percussion that often uses techniques far beyond the comprehension of those us who are not versed in the rhythmic arts. Even the interlude track, “Our Lust for Lunar Plains (Nox Luna Inlustris)” is captivating as ever, with a haunting yet majestic synth part with a commanding cadence that could be listened to dozens of times on its own. The title track in particular uses everything from Celtic Frost-like riffing to the most straightforward black metal guitar parts that Absu ever wrote with some “Grand Declaration of War”-style dramatic narration thrown in for good measure (although “The Sun of Tiphareth” predates the Mayhem album by a good five years), and the album ends on a powerful note as a result. The compositions all merge together to form a single, cohesive album that is effective musically and lyrically in terms of its presentation and desired goals.
Production-wise, “The Sun of Tiphareth” could be compared to “The Third Storm of Cythraul”, as both feature a similar guitar tone and mix which benefits Absu greatly, as it enables the manic energy of thrash with the textures of black metal to be skillfully merged. Even when picking faster than the eye (of Ioldanach) could see, every note that guitarist Shaftiel plays manages to be clear and comprehensive as opposed to muddy and indiscernible, while Equitant’s low-end bass playing adds another dimension to the sound. Naturally, Proscriptor McGovern’s drumming is loud and clear, with each hit – from toms to hi-hat – easily audible. The aforementioned vocal dueling of Shaftiel and McGovern is presented well, with each guttural grunt or mid-paced shriek placed at an apropos level with the instruments. The three musicians all play off each other with unparalleled chemistry, and their instrumental prowess shines through to strengthen the individual songs.
This is an album that every fan of black/thrash should own, even if you’re somehow not familiar with the rest of Absu’s discography. While you’re at it, get the rest of Absu’s album, as any fan of extreme metal owes it to themselves to delve into Absu’s recordings of mythological occult metal.
For more info: You can acquire albums by Absu at Hogwild Records here in San Antonio, all of whom would be highly recommended.
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