(TheMadIsraeli reviews the new 20th anniversary EP by Belgium’s Aborted.)
I fucking love Aborted, especially their last two albums. It’s no secret that here at NCS we were foaming at the mouth like a horde of ravenous hyenas and cackling as we ripped apart the carcasses of Global Flatline and The Necrotic Manifesto when they came our way. To my ears, The Necrotic Manifesto, compared to Global Flatline, signified a departure from the sound the band had always been semi-attached to. Until then, every Aborted record had included the more technical, more tempo-dynamic flare reflected on Global Flatline, although I think most would agree that Global Flatline was their sound taken about as far as you were going to get.
The Necrotic Manifesto was even more aggro than any Aborted release before it. It was streamlined, grindier, noisier, faster, and more belligerent, while largely ditching the more dynamic song-writing of previous Aborted albums. And in between those two albums, Aborted had acquired guitarist Mendel bij de Leij, whose solo project we have covered before (along with his and vocalist Sven’s side project, System Divide — which appears to have transformed into the band Oracles).
So where does that leave Termination Redux? When it comes to EPs, I see them as serving one or more of three specific purposes nowadays: You use them to introduce your craft; you use them to tide people over with some goodies before the next big release; or you use them to plant the flag — to sow the seeds of a new direction and sound in a digestible format, or sometimes to make a defiant statement of said new direction and sound.
I do believe that Termination Redux is the third of those types of EPs, signifying an interesting evolution in the band’s music, capped off by the gesture of re-recording the opening song of one of their most praised early records, Engineering the Dead.