Abigail Williams – A Void Within Existence

Abigail Williams – A Void Within Existence
Release Date: 18th July 2025
Label: Agonia Records
Bandcamp
Genre: Black Metal
FFO: Wormwitch, Blackbraid, Vale of Pnath.
Review By: Trina Julian Edwards

American black metal quartet Abigail Williams is back again with their long-awaited follow-up to 2019’s Walk Beyond the Dark. A Void Within Existence is their sixth full-length album, releasing on Friday, July 18th via Agonia Records. Originally formed in 2004, the band is well-known, or should I say notorious, for their musical evolution. Between changing styles and changing band members, each of the previous albums leaves the listener with a very different impression. The band has received criticism from some fans due to the perceived lack of direction, while others have expressed appreciation for their willingness to experiment. However, in retrospect, I agree with those commentators who say the changes weren’t quite as dramatic as detractors claim. 

A Void Within Existence features founding member Ken Sorceron on vocals and guitars, Vance Valenzuela on guitars, John Porada on bass, and Mike Heller on drums. Dave Otero’s incomparable mixing and mastering has also left its indelible mark. I don’t think it’s out of line to say A Void Within Existence just might be the best record Abigail Williams has ever made.

Fifteen seconds into Life, Disconnected, and I already knew we were headed in the right direction. The long intro establishes the tumultuous, dissonant soundscape with those evilly melodic, massive leads. I have always enjoyed Sorceron’s vocals, but I love how sparingly they’re used in this track. The core kid in me is a sucker for some well-placed gang shouts, which give his narrative some added punch. The band keeps the same oppressive energy throughout the track, despite the deceptively lively tempo changes, which is damned impressive. However, with Heller calling the rhythmic shots, I’m not at all surprised the seemingly disparate elements hold together so well. This is probably my favorite track, but I’m spoiled for choice.

The drums are quite possibly my favorite part of The Void Within, and I love how relentlessly they keep pushing and shoving you through this track. The quick, spirited way Heller plays is such an incredible contrast to the more legato elements in this composition. The chords are held just long enough to provide the tension needed to counter that rhythm. The riffs and guitar harmonies are reminiscent of the more atmospheric, classic black metal, but it has some hints of death metal that make it feel much weightier. The synthy, space-age ambience at the end is also a really nice touch.

The focus on the more subdued and melancholy leads sets the brooding tone for Nonexistence. The tempo abruptly bumps up a notch or three and knocks you off your feet, violently frothing and surging before retreating to those gorgeous, melodic guitar lines. There are some lovely symphonic elements in this piece, and I absolutely love, love, love that the bass takes center stage here, adding some additional texture and depth. The fiery, bluesy solo at the end is as brilliant as it is unexpected.

The furious, frenzied momentum of Still Nights after the more thoughtful, emotive Nonexistence is like a shot of adrenaline at 3 a.m. The hammering riffs and the brutal, incessant rhythm are an unstoppable force. The gang shouts that punctuate Sorceron’s vicious shrieks, combined with the breakdown elements, feel like a nod to their more metalcore roots. However, it’s still very clearly blackened, or more like scorched, at this speed.

The dirge-like Talk To Your Sleep is another one of my favorites on the album. The crunchy riffs under the more traditional-sounding black metal leads nurture a doom-laden atmosphere that pervades the entire track. The oddly discordant notes of the solo are unsettling in the context of the more predictable chord progressions of the foundation. This composition moves through several slightly different musical themes, segueing flawlessly into each change. The strings in the latter half add some unexpected color, and the augmented rhythm pushes those chunky riffs through the outro.

The piano in the intro to Embrace The Chasm adds an ethereal note to the thundering rhythm and speedy leads typically found in black metal. However, at around the 2-minute mark, the guitars unexpectedly throw down what I would consider more rock-based timing and progressions. Yet, the piano notes return, weaving in and out of the guitar lines, giving this an almost alternative rock vibe before going full-on black metal again. The harmonizing guitars, unexpected chord progressions, and melodic leads that take control in the second half of this piece keep the track moving in a compelling direction.

No Less Than Death is a masterful ending. I didn’t expect any clean vocals on the album, but surprisingly, the verses are clean. I had almost forgotten Sorceron could sing. He has a very pleasant singing voice with a lovely tone that isn’t overly produced and tampered with, giving this track the authenticity that it demands. It’s an excellent foil to his harsh vocals. The key change 2/3rds of the way through threw me off, but it ups the intensity nicely. The track smolders most of the way through, but that fervent solo in the last few minutes lights this thing up and burns through to the end. Definitely a surprise favorite for me.

Overall, I’m really optimistic about the next steps in Abigail Williams’ musical journey. Perhaps Sorceron needed to express some of his musical urges to get to the point where he was able to distil and refine his vision. While you can certainly hear elements of the previous albums interspersed throughout A Void Within Existence, this album just seems to have so much more depth and intensity. Press releases describe how the themes of the album speak to Sorceron’s loneliness and isolation, which are beautifully conveyed through these tracks and are definitely felt by the listener. 

My only tiny nitpick is the track length. The entire album is only around 45 minutes long, but 8–9 minutes for a few of the tracks is getting a bit long for my taste. However, I freely admit it is primarily a personal preference. Black metal purists have likely already written off Abigail Williams, and the wide-ranging influences on A Void Within Existence won’t bring them back to the fold. However, for those who appreciate a more expansive approach to modern black metal, this album of an absolute must.

(4.5 / 5)