Abraham are a post-metal band established in 2008 in Lausanne, Switzerland. During their nine years of existence, the band created its own identity among a flourishing scene and managed to successfully export itself. Their two albums released on Pelagic Records were highly acclaimed by critics and fans and supported by a hundred of shows throughout Europe. The band now has a growing reputation and good mediatic coverage over Europe and the United States. The five musicians show unalterable passion, assiduity and a ferocious will to mark their music by their own personalities. Although the band finds itself somewhere at the crossroads leading to Cult Of Luna, Neurosis, Breach or Wolves In The Thrones Room, Abraham mark their compositions of their personal print through original guitar playing, weird synthesizer sounds and dark and oppressive ritual rhythms. The main singer’s deep, aggressive and prophetic growl intertwines with the drummer’s singing, off the wall and wrecked.
Each of their releases is followed by a European tour as well as opening shows in Switzerland, sharing the stage with international acts such as Deafheaven, Converge, Red Fang, Intronaut, Khoma, Ef, Celan, Knut or Birds In Row. In 2013, Abraham support Cult Of Luna on a dozen of European shows, there- fore playing in front of a larger and more specialized audience. The same year, they go on tour headlining in Germany, Netherlands and France, then support The Ocean throughout eastern Europe. In parallel, they take part in big scale events such as Inferno Festival (Lausanne), Pelagic Fest (Berlin), Beyond the Redshift (London) and Rock Al- titude (Le Locle), thus confirming their arrival among indispensable bands of the metal scene. In 2014 they release an experimental sixteen minutes song on a split EP with the Chaux-de-Fonds-based band Coilguns, foreboding of darker atmospheres that take place on their forthcoming album. From 2014 on, they focus on writing their third effort.

«Look, here Comes The Dark!»
This concept album is built on a strong dystopian theme. Four major stages unfold, recounting the disappearance of life on Earth. Based on the depletion of the natural world and the foreseeing of the collapse of human civilisation in a close future, possible forms of disaster and their consequences are theorised. A cynical epilogue leaves us with a few survivors perpetuating and disseminating the destructive force that lies within humankind. Each section is defined by its own stylistic approach and distinctive instrumentation, challenging Abraham to change their automatic rock band reflexes.

The first part opens with the overthrow of civilisation: the remains of mankind and technology, and the various at- tempts to escape urban chaos that ensue. This part consists both in compositions that reflect the loss of bearings, as well as faster pieces that conjure a form of panic. Transcribing the atmosphere of these depths required a dirty, gritty, blurred and granular sound.

In the second section, mankind’s architectural heritage is reclaimed by vegetation. The balance of power is inverted : remaining animal life is subdued, endangered, as this life is not that of restoration but of exhaustion. This experience aims to convey a sensation of suffocation in a barely breathable environment. Composition are slower-paced and more imposing. Bass and spatiality of sound occupying a prominent place.

The third segment depicts landscapes where lush vegetation has given way to a humongous sprawling mycelium control- ling all remaining life. The last form of consciousness has merged into a gigantic organism which ultimate task is to purge the planet of the scoria of humanity. Focusing on the mysteries of consciousness and its unlimited capacity, the band treads on an experimental field, both in terms of the form of the pieces and their approach to sound, with some jazz-like compositions. Particular emphasis is given to psychedelic lyrics and multiple layers of voice.

The finale is devoted to the desolate sphere that Earth has become : blocks of rock floating in outer space. The com- position is stripped bare, with no room for the superfluous. Minimalist lyrics and instrumentation result in a very dry and cold sound.

The album doesn’t intend to serve as a political pamphlet and no solutions are provided. This apocalyptic frame of mind allows the band to apprehend the dark and violent emotions which emerge when confronted with our sinking world. It enables them to move beyond denial and bargaining, to welcome fear, despair, and rage instead of being consumed by these emotions and thereupon to begin to grieve over the demise of our civilisation. It is a long funeral lament.