Abdullah - Graveyard Poetry (2002)
Abdullah present a complete stoner metal package with Graveyard Poetry. Strong vocal tracks, a fair degree of low- and mid-range frequencies, and a tendency to slow the pace for the purpose of establishing groove stand out as the definitive features of the release, although the majority of the album draws influence from a plethora of acts and fails to distinguish the artists from other industry leaders. Graveyard Poetry delivers 14 tracks in total, 6 of which merit discussion and praise while the other 8 serve as filler material to justify the burning of a factory disc. Rather than deconstructing the band’s efforts and deterring fans of the genre from purchasing the album, this article will focus on Graveyard Poetry's strengths and the signature elements that justify the Abdullah’s creation. Abdullah has a reputation for brief (yet powerful) releases, which one can witness in the proliferation of demos and splits attributed to the band’s discography. Little surprise rests in the fact that the album’s dominant tracks appear in a sequence of six consecutive tracks that cascade nicely into each other and divvy the band’s signature elements into appropriate buckets of like-minded concepts. A title such as Graveyard Poetry hints at an understanding of the poetic concept of brevity, and had Abdullah stuck with their typical 6-track routine Graveyard Poetry would have consisted of tracks 3 through 8 and left little room for criticism. The core of this release exemplifies the band’s ability to communicate in grooves while compensating weaker elements with structured bass lines and drum fills. Each track conveys a sense of live performance, as any stoner-based effort should, and falls within the parameters of that rough, yet perfected, approach that so many American metal acts pursue. “A Dark but Shining Sun,” “Deprogrammed,” and “Beyond the Mountain” contain more drive than other titles on the album; however, each track borrows heavily from other influences. “Beyond the Mountain” beckons for comparisons to Acid Bath and Alice in Chains as the vocal performance relies on a harsh vibrato and various effects to create an eerie (yet melodic and positive) mood. “A Dark but Shining Sun” stands as the strongest track although the QRC adjustments detract from the vocals during each chorus. As with many acts in the stoner genre, the effects should accommodate (rather than drive) each musical element. The instrumentation and phrasings played during the solo portion of “Deprogrammed” reflect the pop-rock influence of early ZZ Top, although the lead style conveys little understanding of the blues pentatonic box scale. Although the faster works of the album will draw those seeking drive and up-tempo works, the beauty of this album rests in the slower elements of the album’s core. “The Whimpering of Whipped Dogs” fits within the canon of any stoner metal act in that it could have appeared on any album in the genre. Fireball Ministry, Queens of the Stone Age, and Monster Magnet would all gladly laid claim to the track had it landed on one of their albums; however, it didn’t. This track has every common element of stoner metal: a powerful dropped-C tuning, an outstanding vocal melody, well-orchestrated lead work, and drums that neither fade into the background nor dominate the performance. However, the manner in which Abdullah completes the composition makes it unique. The drummer begins the tempo with confidence. The guitar and bass lines provide a dark framework for Jeff Shirilla’s lyrical delivery, and none of the performers disappoint as the song progresses in and out of its doom metal and classic rock phases.
Abdullah present a complete stoner metal package with Graveyard Poetry. Strong vocal tracks, a fair degree of low- and mid-range frequencies, and a tendency to slow the pace for the purpose of establishing groove stand out as the definitive features of the release, although the majority of the album draws influence from a plethora of acts and fails to distinguish the artists from other industry leaders. Graveyard Poetry delivers 14 tracks in total, 6 of which merit discussion and praise while the other 8 serve as filler material to justify the burning of a factory disc. Rather than deconstructing the band’s efforts and deterring fans of the genre from purchasing the album, this article will focus on Graveyard Poetry's strengths and the signature elements that justify the Abdullah’s creation. Abdullah has a reputation for brief (yet powerful) releases, which one can witness in the proliferation of demos and splits attributed to the band’s discography. Little surprise rests in the fact that the album’s dominant tracks appear in a sequence of six consecutive tracks that cascade nicely into each other and divvy the band’s signature elements into appropriate buckets of like-minded concepts. A title such as Graveyard Poetry hints at an understanding of the poetic concept of brevity, and had Abdullah stuck with their typical 6-track routine Graveyard Poetry would have consisted of tracks 3 through 8 and left little room for criticism. The core of this release exemplifies the band’s ability to communicate in grooves while compensating weaker elements with structured bass lines and drum fills. Each track conveys a sense of live performance, as any stoner-based effort should, and falls within the parameters of that rough, yet perfected, approach that so many American metal acts pursue. “A Dark but Shining Sun,” “Deprogrammed,” and “Beyond the Mountain” contain more drive than other titles on the album; however, each track borrows heavily from other influences. “Beyond the Mountain” beckons for comparisons to Acid Bath and Alice in Chains as the vocal performance relies on a harsh vibrato and various effects to create an eerie (yet melodic and positive) mood. “A Dark but Shining Sun” stands as the strongest track although the QRC adjustments detract from the vocals during each chorus. As with many acts in the stoner genre, the effects should accommodate (rather than drive) each musical element. The instrumentation and phrasings played during the solo portion of “Deprogrammed” reflect the pop-rock influence of early ZZ Top, although the lead style conveys little understanding of the blues pentatonic box scale. Although the faster works of the album will draw those seeking drive and up-tempo works, the beauty of this album rests in the slower elements of the album’s core. “The Whimpering of Whipped Dogs” fits within the canon of any stoner metal act in that it could have appeared on any album in the genre. Fireball Ministry, Queens of the Stone Age, and Monster Magnet would all gladly laid claim to the track had it landed on one of their albums; however, it didn’t. This track has every common element of stoner metal: a powerful dropped-C tuning, an outstanding vocal melody, well-orchestrated lead work, and drums that neither fade into the background nor dominate the performance. However, the manner in which Abdullah completes the composition makes it unique. The drummer begins the tempo with confidence. The guitar and bass lines provide a dark framework for Jeff Shirilla’s lyrical delivery, and none of the performers disappoint as the song progresses in and out of its doom metal and classic rock phases.