FRAGMENTARY SOLID ABYSS is a one-man black metal band from New York who hit the scene in 2022 with their debut single “Sonsuza Dek Bir Gece.” The project’s latest album is the third full-length album, “Concento Pavor Nocturnus” but it seems four more full-lengths have been released since then! The musician behind it, Ömer Doğramacı, has also released a metric ton of EPs–according to the Metallum page, have no less than 25 of them! Despite the insane amount of music they have released, I haven’t heard of this project before and I,unfortunately, didn’t have time to go back and dive into it. But, from my limited research, it seems the band started as synthpop/electronic.

But this album is definitely on the black metal side of the fence, at least half of it. It’s actually quite melodic in places with a unique atmosphere. A few of the tracks use electronic influences in the form of short interludes and instrumentals. To be honest, and I always strive to do so in my reviews, I could give or take with these little pieces. They help the album flow pretty well and tie it all together but on their own, they just aren’t my cup of tea. As such, this feels more like an EP to me than a full-length and it’s only 24 minutes in length, regardless. The opening song is “The King’s Feast,” and it begins as a sickening, slow burn that creates the kind of atmosphere black metal needs to work its magic. It speeds up later on and adds a bit of melody—solid song to open up the album.

The interlude “Call To Prayer” is the best of the instrumentals—the guitar is excellent and the weird approach conveys an alien atmosphere. It shouldn’t work but it does and is a good way to introduce the rest of the music. “Deep Gaze Into The Flames of Hell,” is perhaps my favorite on the album and it really showcases the album’s overall style.. The production isn’t raw per say but it’s definitely not clean. Regardless, I like the way it presents itself and it has a lot of groove to it. Ömer’s rasps and screams are fantastic and hit the spot for what I’m looking for in this style. There is just enough echo on him to give him a ghastly presence. “Narcissistic Society,” is laced with melodic leads and thumping bass–I appreciate how bass focus the music can be. The leads tell the story here, steering the song’s direction while blackened vocals pierce the night. I do wish the drums were a little louder/more prominent. I suspect this is a machine/program and there isn’t anything wrong with it but they sound small and thin for my personal tastes.

“Pain of Existence,” is the final song and it kind of brings the album full circle for me because it begins like the first album—nasty atmosphere! But this one is more urgent and the drums compliment the other instruments better as well. All in all, this is a decent little album but it would better resonate with me if there was more focus on full length songs than the shorter instrumentals.