The band have described their music as "alien-black-hard/industrial",[1] whilst Allmusic described them as playing "a truly original brand of futuristic black metal [with] jagged samples, electronic drums, and industrial overtones, mak[ing] Aborym's peculiar sound very hard to pin down or define".
[4] At the beginning the three piece line-up performed covers of bands like Sodom,[4] Celtic Frost,[5] Mayhem,[5] Sepultura,[4] Sarcófago,[5] Morbid,[5] Rotting Christ[4] and Darkthrone.
[7] Metalion of Slayer Magazine commented about the album: "Well, most of the Black Metal releases today don't rise anyone's attention, still there is a never-ending quest to find interesting bands.
[citation needed] Terrorizer awarded it album of the month with a maximum score of 10/10, commenting: "Most black-heads will hate it, others will be curiously offended by it, and a fearless few will call it their own and use it as their very lifeblood.
You can almost see the majority snicker at Aborym's psychedelic time-travel-meets-corpse-paint image, but these visuals serve to underline specifically where band and record belong: the outer reaches of the cosmos.
The album continued to expand on the band's experimentation with Electronica, with Aborym citing influences from drum and bass, jungle, techno, classical, EBM and industrial.
The album featured guest appearances from Bård Eithun, Roger Rasmussen Nattefrost, Matt Jarman (of Void), Mick Kenney and Richard Szabo (of Timewave Zero).
Their ability to master forces of primitive rawness, cosmic elementals, cold machinery and ritualistic pounding, blending them into decadent layers of speed, dark grooves of hate and reality warping sounds which comprise this album, dismembers sanity".
"[citation needed] In a 2009 retrospective on black metal, Ciaran Tracey reflected: The fact remains, though, that most bands wishing to transcend the archetype of bee-in-a-biscuit-tin guitars haven't actually been that radical.
Although resplendent in a sort of cyber-black metal, UV glowing, post-apocalyptic chic borrowed extensively from contemporary goth club culture (including the drugs), the music was more or less decent BM made a bit more digital by overtly computerised drumming and a liberal smattering of samples.
[4] Chad Bowar of About.com praised the album's atmospheric elements and the vocals of Mulvik, noting also that Csihar returns to appear on one track ("Man Bites Dog").
A social metaphor, uncomfortable but very current, treated cynically by bassist-singer Fabban through a story set in a mental hospital, which suggests that he used his pen with an absolute commitment and the determination to keep off ABORYM from the banality and clichés both ideological/aptitudinal and musical that saturate the extreme metal scene.
A social metaphor, uncomfortable but very current, treated cynically by bassist/singer Fabban through a story set in a mental hospital, which suggests that he used his pen with an absolute commitment and the determination to keep off Aborym from the banality and both ideological/aptitudinal and musical clichés that saturate the Extreme Metal scene".
[citation needed] Alex, from Archaic Magazine commented: "The very aptly named Psychogrotesque once again manages to make most Black Metal acts sound like Lady Gaga: the suffocating levels of abject perversion are scarily palpable, drenched in truly malignant horror and overt twistedness".
[citation needed] Peter Loftus, from Norway's Eternal Terror, said: "There is so much to love here, and it speaks lots that such an intense and insane album can be crafted to have such a wide appeal.
[citation needed] Pier Marzano of Italy's Grindzone wrote:"Citare se stessi è un lusso che si concede ai soli maestri del genere; reinventarsi pur riferendosi palesemente al proprio passato, non ha prezzo.
The band are also working on a special song in order to celebrate the anniversary of the first 20 years of their career - an assembly of riffs, ideas, lyrics, loops and grooves sent by fans.