Listening Notes: This is The Abyss Inside Us

This session serves as an alternative that might eventually replace my Discography Overview series, as it provides concise impressions of each album, offering at least a slightly clearer picture of them.

But what happens if an artist has more than six releases, like The Abyss Inside Us? If I were to start from the beginning with their total of 10 albums, I think it wouldn't be a problem to list them all in one long session. However, I’ll only do this for artists who happen to offer "name your price" or free downloads—specifically on Bandcamp—and when I'm in the mood (or simply reluctant to pirate), I’ll use streaming platforms. Essentially, it's just about clearing my personal playlist according to my whims.

So, here are my notes on six releases from the Greek one-man post-rock project of Nikos Togkaridis, The Abyss Inside Us.

Earth Two (2019)

70%

Earth Two begins its existence with a space theme in the usual crescendo style. I might be feeling bored with it, yet I’d argue there’s a sense of calm and silence within "Floating Among the Stars," "Nebula," and "Hibernation." Electronic influences then attempt to lend a sci-fi character to "Earth Two," "In Orbit," and "Circuits." It feels like two halves representing the scientific technology inside a spacecraft and the vastness of the universe outside. Overall, it sounds flat, lacking any special or standout moments.

Highlights: Floating Among the Stars, Nebula, Hibernation

The Passage (2019)

75%

From outer space, we shift to the concept of human consciousness—somewhere between the subconscious, lucid dreaming, near-death experiences, and death itself. It’s a compelling concept even if the pattern remains the same: crescendo. The playing starts to intensify on "Dreamwalker" and darkens in "Tenebrae," while "Oblivion" signals a return to consciousness or perhaps the existence of an afterlife. 

That is my takeaway for now.

Highlights: The Passage, Charon's Boat, For Those Who Love Eternally, Dreamwalker

Waltz of Grievance (2020)

70%

There might be some pandemic influence in the making of this album. Music box piano and violins breathe a melancholic wind as dark clouds gather. We are forced to endure a gloom where the overflowing emotions feel negative and dirty, much like what I felt on "A Ghost Under My Bed." Then, "Say What You Want" closes the journey on a sour note by introducing vocals that force me to focus on the lyrics.

Say what you want

Nobody hears

Nobody cares

Nobody feels...

Yeah, yeah, yeah. I couldn't care less because it actually ruins the essence that had been built up.

Highlights: I Don't Mind If You Leave, Waltz of Grievance, Blossoms in Autumn

Our Fear is What We Become (2022)

75%

A split release with Non Somnia (Spain), though only the track "One Word was Enough" is clearly his own. The rest are likely collaborations because the weight they carry is quite heavy, thanks to Non Somnia’s style; I felt as if I were entering a dark zone akin to doom/post-metal, for instance on "Beneath My Wings" and "Soft Sun." The piano prelude is a fitting opening for the performance, followed by violins in the subsequent tracks.

Highlights: Prelude (for a New Beginning), Beneath My Wings, Soft Sun

Stigma (2024)

75%

Nikos has come quite a long way, to the point where I only felt exhaustion while going through Stigma. The melancholic crescendo style, the predominantly dark cover art, and titles dwelling on negative emotions really drain one's energy, nearly falling into "tedious" territory.

Notable moments include the signature drum patterns in the middle of "Between the Lines" and a brighter expression on "A Glimpse of Hope," followed by "Sunrays" which intends to continue that vibe. However, I don't feel any concrete condition within it—it's not hot, not entirely cold, nor can it be called warm due to the dynamic drumming. The only track I consider a real low point is the title track itself.

Highlights: Between the Lines, A Glimpse of Hope, Sunrays

Blossoms in Autumn (2025)

75%

Blossoms in Autumn serves as a sequel to Waltz of Grievance much like Earth Two was to Circuits, especially on "A Train to the Sky," and also includes "Summer in Her Heart" from the album Aerialist. "Labyrinth" stands as the most contrasting track in the entire career of The Abyss Inside Us, leaning toward blackened post-rock/metal through the raspy vocals of Once Upon a Winter. The title track itself is merely a remastered version where I can't spot any difference, other than a darker nuance. Then "There will Always be Hope" continues the expression of "A Glimpse of Hope" with the addition of jazz trumpets and a Distant Dream-esque guitar feel, though it starts with an electronic style I'm not fond of.

Despite being the album with the most songs, "What's Eating You Alive?" and "Fearless"—which have the strongest electronic influence—only muddy the atmosphere. Similarly, "Just an Intro" fails to provide pure ambient due to the glitch/noise effects.

Highlights: A Train to the Sky, There will Always be Hope, Remember

Conclusion

In the end, Aerialist still sits at the top, followed by The Passage, Our Fear is What We Become, and Stigma. The music is dominated by dark, contemplative, and melancholic crescendo vibes without enough interesting hooks, which eventually leaves me overwhelmed. Perhaps that is also the reason why the 10-album discography of The Abyss Inside Us hasn't been completed since October 2025.

That’s all, and thanks—especially to The Abyss Inside Us this time around!