Morocco's Abu Lahab emerged as one of the most original acts in the field of industrial black metal with a series of devastating lo-fi demos.

Actually, When the Face of the Lord Is Split Asunder (2010), with no drums, was in the vein of Dead C's wall of noise, notably the anthemic prayer Accursed Are the Compassionate that is completely covered in distortion. The most intriguing piece was the eight-minute As Daylight the Beneficent Creeps In that, instead of sheer madness, opted for an eerie soundscape built around sound effects and samples.

Conversi ad Dominum (2010) was a bolder statement, emphasizing the extreme elements over the moderate ones. The brief abstract gothic overture Hellish Spheres already signals a shift towards the irrational. The outbursts of black metal in Izraak Rbbi Ibogd get entangled in a jungle of industrial noises. From here to the unabashed chaotic noise of Mephitic Asymmetric Halos, worthy of the power electronics of the 1980s, the step is trivial. The hellish blastbeats of the brief Eyeless Gaze seal the unholy mass.

The six-song mini-album As Chastened Angels Descend Into The Thoracic Tombs (2011) marks Abu Lahab's official debut.

Moths from the Silver Reich (2012) only contains three brief futuristic vignettes: the android vision of The Void Resonates, the floating drones and samples of Grasp the Abyss with Petrified Palms and the expressionist melodrama The World is a Sea of Blood (that ends with a folk song). This EP represented the peak of Abu Lahab's anti-musical side. This was not rock music, not metal, not industrial. It was a visionary art of pure sound.

The five-song mini-album We Beheld the Last Contraction of the Seraph (2012) contains the super-twisted dissonant epileptic swirling tribal And No Health Was Left in Us, one of the most delirious dances of the era, interrupted by desperate cries only to indulge in a grotesquely distorted pounding coda; and Sharpen the Tooth of Thanatos, a combination of musique concrete and industrial metronomy.

Humid Limbs of the Torn Beadsman (2012) topped even their wildest aberrations. The six-minute Carve Hope Out of their Bellies is a supersonic blender of spastic blastbeats, monster bass, squeaking guitar, electronic noise, and mentally-insane screams. Burden of Senses juxtaposes a limping drumbeat, an ear-splitting electronic hiss, an angelic choir and an anti-melodic distortion. After the brief vignette of industrial machinery Jeed II, the frenzied free-jazz jam Dissolution is devoured alive by psychotic vocals and laptop-like dissonances. The otherworldly noise and tribal drums of Apathy Chord ambush a child's nursery rhyme before the morbid vision is engulfed in galactic drones. The eight-minute instrumental Cope with the Third Eye is a prolonged hallucination that does not employ violence or extreme noise as much as repetition and tension. Each element is somehow out of order (the irregular drumming, the looped guitar riff, the subaquatic electronic sounds) but the whole is actually unusually compact and geometric. It's their version of minimalist music. The closer, Thanatos Persists, is a futuristic android techno for post-human discos. There is little metal left in these chaotic pieces, and even fewer industrial overtones. There is simply an impressive amount of neurosis and hysteria. The world has rarely looked so ugly and hostile.

The chaotic voodoo dance of Ignite the Solar Abdomen opens the mini-album Of Heliotaxis and Cosmic Knifing (2013), a calculated overture to the mad circus of samples, riffs and sound effects at breakneck speed that is Cynocephalic Torments, the grandchild of the Fugs' psychedelic merry-go-round Virgin Forest. The freak parade continues with the limping industrial clockwork of Tyranny of a Suspended Dawn drenched in all sorts of dissonances and hijacked by operatic singing and muezzin invocations. Prostrate Exenterate is some kind of post-classical expressionist chamber lied coupled with a percussive orgy. And the show dead-ends with the stormy earth-shattering hip-hop syncopation, wild electronic distortion and horror coda of Shatter the Gyre.

Supplications of the Last Gyrosophist (2013) moved Abu Lahab's music into more abstract territory, way more "industrial" than "metal". Hayenomorphic (10:58) is a collage in the vein of musique concrete, beginning with a duet between a repetitive sound of sawing and distorted guitar drones, then slow detuned anthemic chords, and suddenly a vertigo-like explosion of synthetic sounds, evoking a video of rapid-fire hallucinations. A circus-like looping motif mimicks Canterbury-school prog-rock. Her Spleen in the Pond (8:11) is even wilder: demented vocalizing leads a grotesquely syncopated dance, a percussive cacophony with a coda of hallucinogenic distortion and explosion. After the brief demonic recitation of Moth Moon Meiosis (4:38), Baleful Night (10:25) launches into a breathless "solo" of metallic industrial clangor, lapped by flames of power-electronics and by possessed chanting, a harrowing hypnotic voodoo dance. The machine dance continues in A Window A Flickering Face (9:53), a simpler beat-driven piece that sounds like the Residents covering Cramps' voodoobilly.

Abu Lahab came back even more bombastic on the EP Amhdaar (2017). The 13-minute three-movement suite Propelled By The Zavhaari Sleep Machines/ We Slouch Through The Temporal Lobe Of Jahannam/ Now We Kneel To The Ash Moon Mataleen is insanely percussive and cacophonic, a cross between the Velvet Underground's Sister Ray and Lou Reed's Metal Machine Music, littered with and eventually conquered by delirious profane and sacre choirs in the vein of Karlheinz Stockhausen's Hymnen. The ten-minute We Then Surface To Inhabit The O Of Collapse/Memorize The Curvature Of A Majin Assault is a screeching nightmare of keyboard sounds, a swirling merry-go-round of ghostly overtones that seems to emanate from one of Bach's organ toccatas before it gets attacked and infected by a pack of werewolves and vampyres.

The influence of musique concrete and power-electronics is even stronger on Tungasht (2018), from the nightmarish hyper-distorted black hole of Blue Waters Of Cataract (10:44) to the wall of blasting noise of Faad I - With Her Chastity Invoked On A Bed Of Murk (7:05), their most extreme piece yet. To Bend A Knee In Affliction (6:18) is buried under layers of ugly noise and beastly screams. Faad III - Flies Tell Of How Pain Nested In Her Lungs (5:47) is carnival music for the nuclear holocaust. The album is less original than its predecessors but the fury is still untamed.

The four song EP In the Whirr of Quasars(2023) surfaced after a long hiatus.