Static Abyss exudes a horrific sense of macabre with its sweeping aura of melancholy. The uncanny sensation of the guitars reverberates across the beating drums, creating a spine-tingling atmosphere with the maddening, twisted barks of Chris Reifert. It’s almost like the duo has curated the standards of the cult classics of death/doom. And as a result, there are some unhinged tempo changes in the opening track “Aborted from Reality” which blends the slow guitar dirges with infectious melodies that somehow enhance the overall atmosphere.

The next track “Wormskinned” takes an energetic pace and however the rhythm guitars and the pacing of the drums become more frantic, serving as an eerie flow for the growls, the contrast of the low snarls and the guttural growls suits the musical tone overall. Grisly toned dirges are mainly centered as a theme of the album, but there are moments when you will be immediately drawn to the harshness of the beating drums. Static Abyss‘s main accomplishment is the ability to create a funereal aura of classic doom metal that is very much in the vein of Autopsy.

The riffing dredging up ooze from the dark pits of hell, although the music is not as grandiose or crushing, the lead guitar plays a part in creating hooks. “Aborted from Reality” invokes such horror and treads into the style of morbid crusty death doom metal. The cavernous quality of the music is what makes the album have a dark reverb and the duo shows great ability to emphasize the otherworldly feel by focusing on creating the right atmosphere, and they have truly outdone themselves.

Songs like “Cathedral of Vomit” begins with a slow tempo that holds one’s attention. Everything from the tantalizing setting of the eerie lead guitars to the low-pitched growls, the patchwork that combines effective textures with the layered guitar-soaked dirges and the wicked tone of the growls works quite well with the slow creepy approach. “Cerebral Ghost” churns out some of the most wicked riffs on the album, the slow chugging in the mid-paced passages bursts into furious percussion, and the tempos are varied in the album imperiously delivered by Chris Reifert.

While there are plenty of dreadful moments in the second full-length album, Static Abyss etches its gloomy sound with creative originality. For example, the track “Poisoned Limbs” is only one minute long, but it builds on dynamics and death metal grooves. The whole momentum of guitars turns sluggish on “Horizon of Cremains” before transitioning into an up-tempo pace that seems to be reliant upon the bludgeoning percussive beats. The chugging guitars are heavy enough to break the eerie silence of the lumbering gait, Static Abyss shows its uncanny knack of creating kaleidoscopic images of wraiths, demons, and supernatural creatures that lie in dimensions.

“Crosses and Coffins” kicks you right in the gut with its bludgeoning drums and has a raw classic death metal vibe that is very reminiscent of Autopsy. Through the burgeoning guitar chords to add diversity, Static Abyss sounds ugly at faster tempos and the thrashing guitar offers an extreme contrast to the atmospheric horror composition. “Unrepentant Mutant Serpent” focuses more on the percussive dynamics, the riffs are simple the track contains some faster tempos, especially when the gloomy guitars wrap the listener in a morose mood that emphasizes the sense of ominous doom.

The final track “Static Abyss” creates such an atmosphere that describes the phosphorus-foggy art of the cover album, it begins with a highly effective guitar dirge carrying you slowly through the desolate landscape of despair. A slowly waltzing riff that crawls through your soul and makes you tremble as the rhythm guitars and the menacing growls provide a funeral parade for your wretched soul. Like most of the death doom, Static Abyss has an organic aspect, but it also sounds very original, Chris Reifert and Greg Wilkinson have crafted some of the most unique and memorable albums in the genre.

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