When I listen to music, and especially when I review it, I make sure to administer a few tests. These include the headphones/workout test, car test, background music test, and the early morning test. Most of those don’t need an explanation, but I’ll elaborate as the new Bloodhunter album, Sons of the Abandoned, recently endured them.
Typically, my first experience with an album is the “morning test.” I get up to work out in the morning, and while I am preparing to do that, I turn on some music. This is also a kind of background test. I must admit nothing stood out to me upon the first morning test, as the production doesn’t have much heft. I do want to point out that’s not uncommon when I first listen to an album, so that’s no slight or snub.
Next, we have the headphones/workout test. This is likely self-explanatory, but I only wear headphones when I work out, so they go together like peanut butter and ladies. This is where the album starts to gel with me, and if it doesn’t after a few listens, it’s probably not going to resonate. However, Sons of the Abandoned did. Take for instance, the third track, which stopped me in my tracks due to the brief vocals/voiceover of Moonspell’s resident vampire, Fernando Ribeiro. I must admit my embarrassment at first because I thought it was Nergal of Behemoth. Otherwise, it’s an Arch Enemy-flavored melodic death metal banger with a galloping riff, sort of standard affair, until the quieter part with Fernando, which leads into a blazing fretboard guitar solo.
After that is the car test. I drive a convertible, so I enjoy having the top down and blasting some heavy metal. Does that make me an asshole? I’m confident I am with or without the convertible. “The Path That Never Ends” stood out during this test because of the driving main riff and Diva Satanica’s cavernous vocals. However, slightly past halfway, Laura Guldemond of Burning Witches appears with clean vocals and growls behind them. Of note are the cymbal crashes through those sections, making for another excellent change of pace.
The smell test: That doesn’t apply here, and I’m not even sure why anyone would ask.
Much earlier on the album, if you’re looking to stomp someone into the dirt, and I know you are, the title track “Sons of the Abandoned” will do the trick. The weeping lead during the chorus almost serves as an emotional reprieve, then it goes immediately back into the main ditch-digging riff. The smooth solos and leads throughout deserve a mention because of their consistent excellence as well.
Is Sons of the Abandoned a world beater or album of the year contender? No, but it scratches that melodic death metal itch I think most metalheads suffer occasionally. It took me probably far longer than it should to get these words and, therefore, the review out in the world. Rest assured, it’s indeed a banger worthy of your attention.
