Abiura Gives Chills on Hauntology

By Deuce

Hauntology, the forthcoming album released by Abiura on September 10, is a case study in the prolongation of everything most people (in their conscious minds, at least) actively attempt to escape.

The concept album (more on that in a second) deals with notions of wretchedness, lost identities, desperation, and other such undesirable feelings, thoughts, and situations. Consisting of a single song “Hauntology” (which is the name of the cut and the LP) split into six segments, there are parts or musical movement entitled “Perpetual Waves Between States of Anxiety” and “The Slow Cancellation of the Future”, for crying out loud. Optimism, peppiness, the proverbial glass as half full—not so much found on this outing.

The track is a good example of that artistic tenet of showing better than telling. For instance, if a writer, perhaps, wanted to vividly depict the richness of boredom in all its intricacies, he or she would do so by writing an extremely boring passage consisting of copious pages.

Similarly, if a musician, artist, songwriter, composer, producer and vocalist such as Abiura wanted to, say, haunt someone, he would do so with sounds, moods, and passages that are haunting in their tone, texture, and delivery. The latter, of course, is what’s found on this album, and why the concepts of the music and the titles of the respective movements within this work are so heavy.

Almost no one who hears the first five and a half minutes or so of this track (known as “Abjection”) would dare dispute the fact that not only does the tune personify misery, it does so in a deliberately haunting way. The bass is a single interminable note, as is the main synth. That fact alone weighs considerably on the psyche, while it sounds like the artist (Daniele Vergine) hits you with a few scalding electric guitars that go razzing down the spine every now and again for emphasis. There’s no percussion, drums or rhythm, just unadulterated abjection. You get the point, I’m sure.

“Blurred Memories of a Lost Identity”, the second section comprising approximately the second five minutes of the number, spices things up with a few shorter keys with major delay. However, the tune still sounds like church music for some arcane ceremony, such as the drawing out of our lives in this postmodern existence we share with one another.

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