Women vocalists in metal are too often given the label “Gothic” when there may not be a lick of melancholic vampires or symphonic overtones, while power metal is the secondary catch-all. With its fourth full-length Abyss, Ad Infinitum is neither Nightwish nor Unleash the Archers. While previously embracing the more symphonic and Gothic, the Swiss/German collective Ad Infinitum now falls more into the combination of latter-day Deadlock, Spiritbox, and Amaranthe, with cutthroat downtuned riffage pairing neatly with poppy female cleans and vicious growls. It’s what the promo describes as “modern metal” which would historically cause consternation abroad. Still, with a vocalist like Melissa Bonny helming the plunge, it’s difficult to stop your head from bobbing.
Ad Infinitum calls its fourth full-length its most experimental, but don’t set your expectations too high. At its core Abyss is pop vocals atop djent sensibilities with a healthy dose of atmosphere. It dispenses almost entirely of the symphonic tag that connected the previous three Chapters to mastermind Bonny’s history with Kamelot, Rage of Light, and Evenmore—aside from the closing orchestral version of “My Halo.” Abyss nonetheless embarks upon unique compositions, a pendulum between ethereal and crushing. The result is by no means revolutionary and is at times unbearable, but that doesn’t stop Bonny from singlehandedly carrying Ad Infinitum’s milquetoast instrumental performance to the finish line.
Of all the moments aboard Abyss, you’ll remember Ad Infinitum’s vocals most. Rivaling many modern-day pop singers, Melissa Bonny’s mezzo-soprano is formidable, her growls aptly intimidating, and her charisma dripping from every line, amplified by a guitar that hits with a djenty weight. Throughout the album’s tidy forty-one-minute runtime, angelic power soars atop spiteful riffing guitar (“My Halo,” “Follow Me Down,” “The One You’ll Hold On To”), husky roars reflect the attack (“Aftermath,” “Parasite”), ethereal frailty courses through keyboard-forward otherworldly soundscapes (“Euphoria,” “Outer Space,” “Parasite”), and earworm-laden pop croons over synthpop beats collapsing into sliding djent breakdowns (“Surrender”). “Outer Space” and “Parasite” are easy highlights, brutality, and ethereality at their most honed instrumental balance alongside Bonny’s most hypnotizing and cutthroat vocals, the choruses and bridges serving as dynamics that show how both beautiful and punishing Ad Infinitum is at its best. The comparisons to other acts that blend djent and atmosphere, such as TesseracT or Spiritbox, are tastefully recalled throughout.
Like any good pop music, Ad Infinitum’s biggest flaw is its novelty (or lack thereof) and its uneventful instrumentals. While tracks like “Outer Space” and “Parasite” are written with enough instrumental motifs and balance to balance Bonny’s vocals, “Surrender” tries to be as jarring as possible, shifting between djent riffs and synthpop passages with reckless abandon. The chorus of closer “Dead End” falls flat in a monotone drawl compared to its soundalike “Follow Me Down,” while the bonus orchestral version of “My Halo” does nothing for the better original. “Anthem for the Broken” is perhaps the most painful track on Abyss despite its attempt at a Sirenia-esque Phrygian mode. Its yearning lyrics recall the heart-on-sleeve pop influence of Lunatica’s “Who You Are” or Rachel Platten’s “Fight Song.”1 Even in Abyss’ highlights, Ad Infinitum’s instrumentals are bland at best, setting a foundation for the vocals and little else, only reaching “good” status in the highlights through competent texturing. Because of this, Abyss’ audience is questionable in metal circles. The album is constructed of straightforward pop-heavy verse-chorus-bridge structures and vocals, a burden of proof that likewise rests too heavily on Bonny.
Melissa Bonny puts her best foot forward with Abyss and remains the beating heart of Ad Infinitum. It’s just a shame that the rest of the band isn’t up to the task. The album very much remains in the realm of “modern metal,” with bass-heavy breakdowns greeting sirenic vocals that will get casual listeners’ feet moving just as much as jaded metal fans’ brows furrowed for the wrong reasons. Abyss does a good job distancing itself from the “Gothic” moniker and power metal catch-all, but a full plunge into chunky pop is a controversial decision. Ad Infinitum ekes by, with the charisma of a frontwoman force to be reckoned with and just enough lightning to thunder in a scene clouded by mediocrity.
Rating: 2.5/5.0
DR: N/A | Format Reviewed: STREAM
Label: Napalm Records
Websites: adinfinitummusic.bandcamp.com | adinfinitumofficial.com | facebook.com/AdInfinitumMusic
Releases Worldwide: October 11th, 2024
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