Just three years after their acclaimed second record (or rather, song), Woe (2022), An Abstract Illusion are back again with the highly anticipated The Sleeping Cities. The Swedish quartet have been dubbed the successors to Opeth’s crown as the kings of Swedish progressive death metal and, with Akerfeldt and co. showing they may still be interested in that title with their latest effort, it remains to be seen which band will reign supreme and which are the pretenders?
The Sleeping City's track listing immediately signals An Abstract Illusion’s intent. With the exception of interlude “Silverfields”, each track clocks in at 8 minutes or more, highlighting the album's grandiose ambitions. They begin in keeping with this ambition, “Blackmurmur” opening with waves of cinematic synths before drums, then guitars, and then eventually harsh vocals enter the fray, but it’s the synths that carry the melodic burden in these early forays as the band’s penchant for atmosphere is made clear from the off. Each of the longer songs makes full use of their dynamic range as they balance the "stock" progressive death metal passages with mellower, more melodic passages which often place synths and choir-like clean vocals at the forefront.
In the case of “Blackmurmur”, the introductory synth melody returns in the back half of the track, propelled forward by a pulsating electronic kick drum that lends a brief, but noticeable electronica vibe. As the track then builds towards its climax we see heavy guitars interspersed with uplifting passages akin to Astronoid, where (again) the synths and processed clean vocals carry the song’s momentum. A brief, but brutal climax and a hint of that opening synth line closes the song, the band’s mission statement laid bare.
Next up is lead single “No Dreams Beyond Empty Horizons”, its introduction calling to mind Ne Oblivscaris’ Portal of I (2012) with its classical guitar-inspired riffs and incessant double bass. Together with “Like a Geyser Ever Erupting” we see an increased emphasis on the band’s heavier side, with angular guitars, blasting drums, some killer riffs, and at one point a scarcely believable 26 -second scream. Yet, at no point are the band fully unleashed: there is always a dynamic swing towards mellower territory, the reigns pulled back with Karl Westerlund’s guitar solos often the first point of respite. Indeed, the solos are an undoubted highlight of the record that grab your attention with a vice-like grip before releasing at the opportune moment, never staying beyond their welcome.
Nevertheless, it is “Frost Flower”—arguably the softest song on the record—that serves as the The Sleeping City's high water mark. A suite of guest musicians lend their input, bringing both folk and classical elements to the song with beautiful strings and simply gorgeous clean vocals. While An Abstract Illusion are impressive throughout, it is here that they are truly memorable, with outstanding melodic callbacks making it a standout track that you’ll want to keep returning back for.
And therein lies the crux. An Abstract Illusion are a progressive death/black metal band, and this forms the basis from which their compositions begin to sprawl. But it is this bedrock that is often the least interesting, at times appearing to exist solely as a form of contrast with which to emphasise their more adventurous, progressive flourishes. This brings us back full circle: Boredom with this sound infamously led Opeth to discard their death metal foundations entirely, and with it much of the interest and fandom that they had worked so hard to establish. If An Abstract Illusion can heed that warning and manage to refine, sharpen, and spice up their core sound, while maintaining the atmosphere and creativity that projects from it, then long shall be their reign.