ABORYM: “Hostile” – Dead Seed Productions 12 February 2021

Most Aborym albums play like testimonies of sudden unpredictable turbulent mood swings. Bursts of rage and coldness give way to creeping anxiety, startling roughness give way to scenarios of loneliness and anguish. Harmonic noise predominate. Melodic motifs recur like the whole thing’s being hammered out as the tape rolls. With Hostile Aborym can be considered part of a select group of acts who have the unwanted distinction of being a band whereupon every note of music made after a certain point in time can be deemed something of a triumph.
Where Aborym do succeed in bringing themselves full circle, it’s by mixing the acoustic elements, the search for the melody, the coldness of the machines and the industrial influences that surfaced on their previous Shifting.negative album (Agonia Records, 2017). Hostile often acts like a cudgel, pounding sludgy guitars and the hip-swiveling grind of the rhythm section directly into the listener’s temporal lobe. Hostile is a cryptic puzzle of darkness, brightness, discomfort, equilibrium and loathing. This is music in its rawest/classy form, an expression from deep within, without any care for convention or crowd-pleasing. It is the sound of four complicated people making long, eye-poppin’ complicated songs together.  It’s undoubtedly the most cohesive release of this band. It’s an album that rewards further listens, but nonetheless tends to remain a mildly frustrating introspective experience. Songs are mixed with the purpose to unsettle and agitate listeners, and they aim to offer a fine contrast by balancing this post-industrial (prog)rock-metal aesthetic with enigmatic and slippery technologic delirium.

“To give birth to “Hostile” we started working from the pre-production the band provided and cared for independently, we then recorded again all the drums, bass guitar and guitars at NMG Studio. All electronics, synth parts and voices were recorded at Synthesis Studio. During the whole recording process I did some pre-mixes that allowed us to reach a mix-phase to give us a clearer overview of each song. We didn’t want a traditional sound nor did we want it to sound like other bands at all, the band asked me to get a personal sound, the “aborym-sound” and we got it through a long and complicated surgical work, fitting together acoustic and electronic drums, guitars and synthesizers, the acustic bass and the electronic basslines, emphasizing on Fab’s vocal features and giving them personality and diversity letting his voice being the protagonist everywhere in the record. This album reflects the band’s creative and experimental attitude and I like to consider it as the great challenge it was for me as a sound engineer and for the band itself.”
Andrea Corvo (Synthesis Studio, Rome)

Andrea Corvo is a sound engineer active from 16 years in the professional audio scene. Over the years he accumulated experience in the live dimension, from the original motion picture, with maestro Nicola Piovani, to rock and pop music with the eclectic italian singer Donatella Rettore. Alongside the live concerts dimension he dovoted himself to the electronic music production and he started djing techno music, acid techno, industrial and progressive techno. In 2013 he gave birth to his own Synthesis Studio, practising and increasing his skills in audio engineering but also in mixing for electronic music, rock, industrial, metal and pop music. Is approch must be defined as “crossover” and “out of the box” since he loves to create empathy with artists, trying to work hard on their own sonic identities instead of following existing schemes. The name “synthesis” is perfect to describe his own professional philosophy: experiences, different styles, different band’s elements in order to create something unique and difficult to replicate.

“When Fab and his wife were in Bangkok at the end of 2018 we got to talking about the next Aborym album and he asked if I was interested in helping out with the production. Talking about the directions he wanted to take the band’s sound in sounded very exciting to me and when the tracks started to come together I was blown away.
Tracks like “Proper use of Myself” and “Stigmatized (Robotripping) had the patented Aborym heavy aggro feel, but tracks like “Sleep” and “The end of a world” took the bands sound in a completely new direction. The whole album is an adventurous trip both lyrically and dynamically. I haven’t heard anything like that since many years and I’m proud to have had a small part in making this with Fab and the boys. Just wished I could have gone to Italy for the mix down, but the end of the world came.”
Keith Hillebrandt (Producer)

Keith Hillebrandt is a sound-designer, remixer and programmer from San Francisco who has worked within the music software business and with/for various artists such as Stevie Wonder, U2, Consolidated and David Bowie. He has also manipulated sound in many musical outfits including Nine Inch Nails, Blast Conservatory, Cleopatra System and Full Court Press (a band he was in), as well as working in Naut Humon’s Sound Traffic Control. Keith Hillebrandt has also released four solo albums and an EP. On David Bowie’s I’m Afraid Of Americans, Hillebrandt is listed as a full member of NIN along with Dave Ogilvie, Danny Lohner and Charlie Clouser. He was evidently planned to be part of a multiple-keyboardist setup for the live band that Trent Reznor originally put together for the Fragility tour, but The Fragile took a different route sonically and this idea was scrapped, although he did replace Charlie Clouser during the CRC Sessions. Music Industry insiders might recall Keith’s work with such companies as Otari, WaveFrame, and Opcode, or for his cutting-edge Arhythmia, Poke in the Ear, and Useful Noise-series sound libraries.

“I’ve always had a fascination with challenging myself and even when I was a kid, I wanted to be different, I loved to experiment. I’ve always gotten a lot of enjoyment when I’m in a challenging situation and I have to learn something else, and I still do. I think it is innately inside me. Part of you doesn’t really realize just how cool it is not to give a fuck, you know? I am very concerned about like, “Is this working?” Not giving a fuck is a way of giving more love because you’re free. It lets you be more creative and dynamic and louder and more fun and sadder and everything. We just tryed to play the music we feel, like a therapy. Music is a therapeutic path for me and I try to not play music just to please the fans. People are always going to categorize you. It can definitely be frustrating. But I don’t feel any pressure to be anything for anyone. I don’t feel like I have to be the frontman in any certain way, and I think that’s part of the power of the band. If I was a solo artist and I had four managers telling me what to do, I’d feel stressed out… But we really feel grounded with each other.  You can’t write the same type of song over and over and over again, so I think that’s one of the challenges, to feel like, “Yeah, I did something different here.” “Hostile” will be our eighth album and I think for us it was really important to try and find our playfulness again. So, in that sense it gets harder with every album but we really made music just because it was our favorite thing to do ever. It still is.”   F. Giannese (Aborym)

Fabrizio Giannese (Vocals, programming, piano, synths, modular synths)
Riccardo Greco (bass, guitars, programming)
Gianluca Catalani (drums, pads, electronics)
Tomas Aurizzi (guitars)

Giuseppe Nicotera (Tabla and modular synths)
Pierluigi Ferro (Sax)
Alessandra Magno (Vocals)
Enrico Cerrato (Additional synths)
Tor-Helge Skei (Additional synths)

Written, arranged, programmed, performed by Aborym
Keith Hillebrandt
Andrea Corvo
Andrea Corvo
Additional drums engineering
Alessandro di Nunzio
Andrea Corvo at Synthesis Studio
The Pursuit of Happiness co-written with Enrico Cerrato
Recorded at Synthesis Studio – Rome
NMG studios – Rome
AborymLab – Ciampino, Rome
Art direction
Fabrizio Giannese  Laurent Clèment
Fabrizio Giannese
“Surgical Decoration” (2020)
and “Vestale” (2016) paintings
by Saturno Buttò
Fabrizio Giannese
Copyright Aborym 2020

Extreme metal times
Kali Yuga Bizarre (1999 Scarlet Records (EUR) Mercenary Music (US))
Fire walk with us (2001 Scarlet Records)
With no human intervention (2003 Code666 Records)
Generator (2006 Season of Mist Records)
Psychogrotesque (2010 Season of Mist Records)
Dirty (2013 Agonia Records)
Live in Groningen (2013 Dead Seed Productions)
Dirty remix (2014 Stridulation Records)
The industrial rock times
Shifting.negative (2017 Agonia Records)
Something for Nobody Vol.I (2017 Dead Seed Productions)
Something for Nobody Vol.II (2018 Dead Seed Productions)
Something for Nobody Vol.III (2019 Dead Seed Productions)
Hostile (2021 Dead Seed Productions)

Band contact
Official. www.aborym.it
Bandcamp. aborym.bandcamp.com
FB. www.facebook.com/aborymofficial
TW. twitter.com/aborym1992
IN. www.instagram.com/aborym_industrial
YT. www.youtube.com/user/AborymTV

Dead Seed Productions
Official. www.deadseedproductions.com
FB. www.facebook.com/deadseed.official
SC. soundcloud.com/deadseedproductions

Booking info.aborym@gmail.com



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