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Describing Obscura's third full length album Omnivium as highly anticipated seems understated following the dizzying impact of their sophomore album Cosmogenesis, which gave the sometimes tired and uninspired technical death metal genre a much needed shot in arm. Following the stylistic change and upward gear shift between the debut Retribution and Cosmogenesis, do not expect a similarly massive veer into new territory this time around. Omnivium works well as a natural continuation of the highly technical and progressive tendencies of its predecessor and ups the ante in regards to songwriting and the dazzling, complex song structures that are rich in dynamics and melody.
Individual performances are outstanding, as one would expect after hearing their last opus. What separates Obscura from the hordes of lesser tech death bands is their ability to craft memorable tunes that allow the music to breathe, saving space for the smoothly executed time changes and Obscura's knack for reigning in speed and blasts in favour of slower, crushing grooves and progressive interplay. During these proggy moments bass player Jereon Paul Thesseling displays his phenomenal talents, combining superbly with the subtle cymbal work and tricky handiwork of drummer Hannes Grossmann.
Speaking of drums, I would be hard pressed to name a better performance in recent years. This guy has all the moves. The double bass work is staggering in its complexity, intensity and groove. Moments of tight blasting are complimented by strong variation and complex rhythms and fills. With the constantly mutating swarm of technical riffage and intricate, melodic solos, it is easy to focus on the guitars, but the stellar rhythm section demands closer attention.
The riffs come thick and fast, never outstaying their welcome or changing too constantly where they might become a distraction to what are refreshingly catchy songs. 'Septiagint' begins the album with a clean acoustic intro before following a shifting pattern of complex rhythms, revealing the stunning dynamics, spacey atmospherics and progressive elements that are weaved throughout Omnivium's core. The lumbering, sinister groove of 'Ocean Gateways' is reminiscent of Domination-era Morbid Angel, proving that heaviness can still reign supreme in a technical firestorm. Steffen Kummerer's clean vocals are sporadically scattered throughout the album. His ethereal, otherworldly clean vocals add to the atmosphere and are not overdone; complementing the harsher vocals. The more aggressive vocals vary in pitch though mostly stay on the lower, guttural end of the spectrum.
Production can be a touchy subject and though in some extreme cases it can reduce the quality of an album, mostly production gripes come down to personal preference and offer a chance for critics to have a nitpick. For the most part Omnivium is flawlessly produced. The instruments are nicely balanced; the guitars are up front, sounding razor sharp and suitably heavy without overwhelming the subtle nuances of the bass guitar. The bass drums sound particularly strong, and feature a more natural, commanding thud than was present on Cosmogenesis. The production is slick but not quite as polished as its predecessor, and overall Omnivium sounds more natural and organic without harming the strong atmospheric vibes that are still prominent. If I do have one obligatory nitpick it's regarding the snare drum; it doesn't sound as forceful and robust as it should. Nevertheless this is a miniscule blemish on an album that may just be the latest benchmark for the genre. Obscura have risen to elite status in the technical death metal world.
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- Reviewed in the United States on December 29, 2011
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ghost tiger rise 67Reviewed in France on February 21, 2022
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