Nina Corcoran of Consequence of Sound described the album as "strik[ing] a fine balance between gothic folk and electronic noise rock" and "embracing metal and overpowering drones".

[2] Brandon Stosuy of Pitchfork noted that metallic elements are "built into, and integral to, the music, which frequently booms with distorted doom-metal guitar.

"[5] Tristan Jones of Sputnikmusic wrote: "Though 'darkwave' is a fitting descriptor, elements of doom, folk, noise, and industrial seep in.

"[10] Dates for the album's North American tour with alternative country band Wovenhand were announced on Wolfe's official website two days later.

In a statement to coincide with the track's release, writer John Hill claimed that it displayed "both the delicate and world burning sides of Wolfe.

[15] In her review for AllMusic, Heather Phares declared that "On Abyss, Chelsea Wolfe brings the heaviness in her music to the fore in a way that's more natural, and more compelling, than merely "going metal."

Given the darkness and drama present even on her unplugged album Unknown Rooms—as well as tours and collaborations with artists such as Russian Circles—it was inevitable that she'd embrace her metal leanings more fully, but Abyss exceeds expectations.

"[2] Drowned in Sound critic Giuseppe Zevolli wrote: "Abyss proves that there's still much work to do in the dark side of alt rock.