Album Review: The Bleak Midwinter

Raglan’s Abstract Fish Lungs are a band with tunes that live up to the ‘Abstract’ part of their name. Where the ‘Fish Lungs’ comes into play is still a weird and wonderful little mystery. All we know for sure is that most fish don’t have lungs, let alone abstract ones (I mean, why would they, honestly?)

Anyway, the four-piece is about to drop their debut full-length and a proper concept album – The Bleak Midwinter, landing on Halloween, which fits, given how dark it gets. What first pops to mind on first listen is, if Faith No More, The Bronx and Million Dead formed to create one giant super group, this album would be the result.

The band are Josh Alexander on vocals and rhythm guitar, Wai Ariki Tepania on lead guitar, Hendrix Knox on bass and Ethan Murray on drums. They cut their teeth at the Whāingaroa Talent Factory, where a name they only meant to use for one gig ended up sticking for good. To go back slightly further, prize money from their 2024 Smokefree Rockquest run helped fund their debut EP, Tribute IV. For The Bleak Midwinter, they went back to The Porch Studio in Hamilton and worked with producer Regan McKinnon. Newly released singles, Seagulls and The Dark Passenger give you some idea of what you’re in for. Together they tell the story of a young life lost to addiction. Bleak yes, but I like the no-sugar-coating-it approach. Also, Seagulls is a hell of a track and another standout. Those riffs? Hell yeah.

But we must kick things off with The Inferno of Endless Thoughts, a 1 minute 25 second prelude with a vocal entry. It opens on dystopian synths before a mad, frenzied riff crashes the party, crunchy and driving, with some seriously fine metalcore vocals on top. Just as you’re getting into the groove, it cuts out. It’s a smart way to open a concept record. It’s more of a mood-setter than a full song, and it creates anticipation for what’s coming next.

Sleepwalker to my ears is classic metalcore through and through. The riffs are heavy, deep and crunchy, and Josh pulls out some properly impressive guttural screams and grunts that give the whole thing some serious edge. That doesn’t mean the rest of the band is sitting around twirling their fingers. They hold up their end too, keeping the low end thick and the pace relentless. Stank faces are guaranteed, and if you’re not pulling one, go back and listen again.

UFO trades some of that grit for a cleaner, very catchy riff without losing any of the drive. It’s big, anthemic post-hardcore with the same kind of energy as The Bronx, and it’s the one most likely to have a room full of people yelling along. Great screams, great tempo. Solid as.

King of the Throne is heavy straight out of the gate: fast, frenzied punk hardcore with lyrics fired off super quick. The riffs ooze confidence, and there’s enough melody to keep it interesting, and the backing vocals are a nice touch. It’s a standout for me and it’s the sound of a band that knows exactly what it’s doing. Better yet, they’re having a blast.

Eleven tracks, a debut and conceptual album sound great on paper, but it leaves little room for error once it’s out in the ether – but you know what? They haven’t missed the mark. I love their energy, I love that they deliver on that too, and in abundance. Will everyone who listens get on board? Of course not, and that’s why you have to give credit where it’s due. Look, the bottom line is this is a bold and solid debut that deserves to be heard. It’s obvious they are putting in the work and have come out with a record that hits as hard as it means to.

So, what are you waiting for? Get it on and turn it up.