Band:	Abduction
Album:	Toutes Blessent, La Dernière Tue
Style:	Atmospheric black metal
Release date:	December 2023

01. Toutes Blessent, La Dernière Tue
02. Disparus De Leur Vivant
03. Dans La Galerie Des Glaces
04. Les Heures Impatientes
05. Par Les Sentiers Oubliés
06. Carnets Sur Récifs
07. Cent Ans Comptés
08. Contre Les Fers Du Ciel
09. Allan [Mylène Farmer cover]

When you thought French black metal couldn't possibly sound any more French, Abduction come along.

The French atmospheric black metal band Abduction have been around since their formation back in 2006, during which time they've currently released four full-length albums: Une Ombre Régit Les Ombres (2016), À L'Heure Du Crépuscule (2018), Jehanne (2020), and latest effort Toutes Blessent La Dernière Tue (translation: All Hurt, The Last One Kills). France seems to have a real knack for producing a wide range of quality black metal, from avant-garde and blackgaze, to atmospheric and post-black, with the likes of Deathspell Omega, Blut Aus Nord, Regarde Les Hommes Tomber, and Alcest amongst the finest acts to grace the entire black metal genre. Those particular bands I mentioned are each known for their individual style and signature sound, and I think it's fair to say that Abduction fits this bill as well, with their blending of epic atmospheric black and medieval folk.

This latest offering sees the foursome of François Blanc (Angellore), Morgan Velly (drummer), Mathieu Taverne (bass), and founding member Guillaume Fleury (guitars) deliver nine tracks that in total clock in at just under an hour in length. The album is mostly centred on themes relating to human philosophical issues, focusing on emotions to which we can all relate to, in contrast to the historic medieval events used by the band as lyrical inspiration in the past (such as Joan of Arc for previous effort Jehanne). Toutes Blessent, La Dernière Tue differs to what a lot other black metal bands produce, but how does it stack-up against the band's previous efforts?

The album begins with its title track, which launches into a blast-beating, furious tremolo-picking frenzy, before blackened shrieks howl into play; these are backed up by occasional passionate clean chant-like vocals. The song comes to a sudden halt midway through, as a gentle classic acoustic melody accompanied by soft clean vocals takes over. Although there's nothing mind-blowing about this opener in terms of songwriting (other than the dark piercing guitar tone, which I find striking), it definitely sets the tone for what's to come.

"Disparus De Leur Vivant" follows, and here is an instance where understanding the French lingo can help substantially, as the lyrics are naturally in French. The vocals here are passionately performed to say the least, as the clean vocals sound as if a national anthem is being belted out, and the blackened instrumentation only helps emphasize the dark atmosphere. This song isn't as ferocious as the opener, and gentle sweeping melancholic strings are featured, delivering some dark medieval folk melodies.

The next song, "Dans La Galerie Des Glaces", is at over 8 minutes the album's longest track, and most structurally diverse. The song attempts to engage the listener through hypnotizing rhythms, while softer acoustic interludes with folkish clean vocals shape the atmospheric soundscapes. The track then takes an unexpected turn in the closing few minutes; this is perhaps the most intriguing and captivating part of the track, and of the album thus far, as it provides a display of epic instrumentation through the folkish galloping rhythm and passionate cleans.

From here, things carry on in more-or-less the same manner, minus a few highlights along the way, one of which is "Par Les Sentiers Oubliés", one of the album's most memorable tracks. This is a relatively short, mostly instrumental song, heavily driven by melancholic tremolo riffs and leads, as well as symphonic choir chants. "Cent Ans Comptés" also has some striking moments, with the uncontrollable shouts of despair, gentle sweeping violin strings, and classic acoustic melodies particularly standing out.

Another track worth pointing out is "Carnets Sur Récifs", a track I'd personally describe as comparable to Celtic black metal legends Primordial, with the great galloping folkish riffs, tribal rhythmic drumming, and some of the finest melancholic acoustic guitar work so far on the record. Despite this, the song somehow feels shorter than it actually is; there's a feeling that it finishes before it's really had a chance to get going, as if there could have, or perhaps should have been something more. In truth, this is something that I find to be a common problem with many tracks throughout this album.

Overall, Toutes Blessent La Dernière Tue is, what you could say, a mixed bag. There are several moments in which this foursome shine, and the striking balance of atmospheric black and medieval folk is a formula that they seem to have accomplished themselves in. However, by the end of the album, it feels as though there was something missing in the songwriting department; considering the near-hour running time, it leaves me feeling slightly underwhelmed. Still, they offer a solid performance regardless.