It’s been close to a decade since Abigail Williams exploded onto the scene with their debut EP, entitled LEGEND. In the years since, Ken Sorceron and company have garnered contrasting positions from critics and fans alike. Many of the more cynical listeners have dismissed the band as “poser black metal,” going as far as to lump them in with acts such as Dimmu Borgir or, even Cradle Of Filth, while fresh-faced metal scenesters touted them as the kings of the new wave of American black metal. On THE ACCUSER, the outfit not only silence their sardonic detractors, they slam the coffin lid shut on the unearned skepticism.

One of the most engaging aspects of THE ACCUSER is how well the album is paced. Playing out like an auditory film, the offering wanders through eerie soundscapes and blistering metal compositions while managing to avoid feeling like a mixed bag. Tracks such as “The Cold Lines” and the closer, “Nuummite,” are ladened with melancholy atmosphere and dark moodiness without feeling separated from the other, more straight forward black metal tunes. Chock full of feedback, noise and dissonance, THE ACCUSER weaves black metal, crust and even moments of space rock together exquisitely to form a cacophony of dark matter that truly feels fresh amidst a sea of “true kvlt” clones.

Abigail Williams (Will Lindsay, Ken Sorceron, Jeff Wilson, Charlie Fell) (publicity photo)

Abigail Williams (Will Lindsay, Ken Sorceron, Jeff Wilson, Charlie Fell) (publicity photo)

Generally speaking, when a band states that they’ve reinvented themselves with their latest release, it’s a load of horse shit. Abigail Williams have managed to not only remain innovative on each of their albums, they’ve continued to grow sonically, with THE ACCUSER the band’s most cohesive work to date.