Subdued – Abattoir

Subdued’s debut full-length album, Over The Hills And Far Away, released four years ago, remains one of my favorite punk releases of recent years. As prominent representatives of British anarcho-punk today, Subdued has skillfully modernized their influences. They maintain militant political themes, adapting them to the cesspool of today’s capitalist England, while resonating with those who share their perspective.

Their second album, Abattoir, stays true to their original path. Once again, Subdued chooses the route of resistance, using their revolutionary art as a weapon against the post-industrial society in which they exist. The album unleashes eight intense compositions over 22 minutes, drawing energy from the anarchic gospel of Icons Of Filth, Conflict, Exit-Stance, Amebix, and Antisect, with a constant nod to Killing Joke. Even in moments like “Nothing Good Survives,” where tension rises, Subdued avoids veering into metal or crust territory. Instead, basslines and eerie guitar leads in tracks like “Children Of God” evoke the spirit of Rudimentary Peni.

Abattoir builds on the holistic dramatic atmosphere of its predecessor, extending its impact through visuals, lyrics, and an incredible vocal performance. Yet, this album feels more aggressive. It opens with “Machine Hell,” a track that, in just two minutes, conveys a repressed tension before the album accelerates with “Who Dies If England Lives,” the next track on the list. This composition harks back to the golden days of the sub-genre, with standout drumming, especially on the cymbals, proving that this twisted and eclectic style still has much to offer today.

Albums like Abattoir are likely to resonate with an audience already attuned to its context and aesthetic. They channel a subversive and libertarian rage that, in the right hands and with the right inspiration, can dispel any notions of sterility, nostalgia, misguided romanticism, or pointless longing for past glories. At three and a half minutes, the title track is the longest on the record, demonstrating that even in their most imposing and mid-tempo moments, where they flirt with post-punk boundaries, Subdued distinguishes itself from musically sterile imitators.

The album concludes with “Deserve Anarchy,” a track that serves as a signal—a breath of dignity. It poetically and clearly reflects the existential terror of routine in a capitalist society, the violence of work and insecurity, the constant psychological oppression stemming from fragmented social relations, the lack of dreams, and the alienation of everything. However, as should be the case with any record that respects its political message, empowerment, belief in collective action, empathy, and support for the individual—along with the battle against self-humiliation—must also be part of the equation.

Abattoir accomplishes its mission with strange chords, smoky production, desperate vocals, and relentless drumming. Tight rhythms give way to breathy leads and vocal lines. Everything feels more challenging, more ominous—the road stretches farther, and the mountain grows higher. No matter. The pressure increases, and the attack must intensify. With bands like Subdued or Bad Breeding, we can still remember why we connected with this music in the first place. After listening to records like Subdued’s second album, we find courage and meaning in the small daily battles and denials within this slaughterhouse of hope—battles that pave the way for greater change.

You can find the Greek version of the review here.