From Pelagic Records, "This album isn't just heavy, it is absolutely drenched in delicious filth, and yet by embracing even more the melodic interludes and melancholic passages, they create a devastating contrast to the wall of power coming from stacked guitars, catastrophic drums and raging, sharp vocals – delivered in Swiss-German dialect. From the patient grandeur of coming extinction, to the chaos and fevered urgency of the aftermath, in "IDSUNGWÜSSÄ," ABRAHAM move forward from prophetic lamentation to an elegiac, visceral response. The emotional closure of this expression is felt, something final that will leave you speechless and with only one real option; listen to it again."

The album has eight songs, and "Fate of Man Lies in the Stars" is first. I don't think I have ever heard such a dark, weighted, and harrowing sound before. It sounds like souls being tortured in hell. Just when you begin to get used to it, it gets worse. Thick, meaty bass notes and crashing drums provide the backdrop, and the scream of the vocals and tone of the guitars contribute greatly. "I Am the Vessel and the Vessel is Me" isn't quite so drenched in torture, but don't look for any lights leading the way out of the room. Again, it's the prolific and textures bass notes that provide much of the fuel for the power of the song. The second half is spent in shadows of a bloody room doing God know what to the body parts strewn about.

"A Discomposite Shell" is another tortured soul screaming from the pit of Hell. At first, the early chaos nearly drowns you, but you gain some bearing by kicking your feel violently and moving your arms. It steadies a bit, but the torture returns, ten-fold. "Naked in a Naked Sky" opens with innocuous keyboard notes that are lukewarm…almost inviting you into their snare, and the trap is forever. Tension is held thick in the air, and the torture almost becomes routine. It begins to burrow downward slowly, until it reaches depths unfathomable. What is down there? "Surrwaut" features dissonant guitars, and rising chaos. It'a almost like your torturer takes a break, leaving you bleeding and numb, and forever afraid of when he might return, and what he might do next. The fear could turn your hair white, and the eerie ringing of the leads is equally as unnerving as the deadly bass notes.

"En Tuufus Tumpu" is a shorter song that capitalizes on the harrowing and frightening nature of the album. I feel like I've been dropped into the woods at Camp Crystal Lake, and Jason is on the move. "06.00.40U" has a gentler entrance, but is still as dark as the midnight sky. It doesn't take long before the ritual returns, and the hypnotic sound sends your eyes into the back of your head and has you unnaturally speaking in tongues. "Home" closes the album, but it's not the familiar place you remember. Instead, it's weathered like years of decay, and rotting corpses are strewn around. It smells like dead bodies, and rot. It's tenuous at times, almost calm, but tension looms like a massive creature over a horizon of dimly lit skies. He materializes, and at that point, you know you are dead.

The album crawls from the speakers like a living wound…dark, and filthy.  Listening feels less like experiencing music and more like enduring an ordeal…a descent into a pit where pain and madness blur together. It seems chaotic, but it's a deliberate architecture of horror that transforms suffering into expression. This is not music for comfort or catharsis. It's music that drags you through filth to remind you what darkness truly feels like, a portrait of anguish painted in noise and decay.