I’ve always adored Obscura’s approach to death metal. Their intellectual neoclassicism, explicitly stated roots in melodeath and more brutal forms, and ingenious fusion with superior technical and virtuosic abilities, make for a remarkable artistic history -no matter the lineup. Indeed, Kummerer’s talent -beyond composition- extends to selecting the appropriate members whenever changes are needed. Hence, when three-quarters of Obscura’s classic lineup gathered to record the excellent “A Valediction” (Kummerer, Thesseling -the king of fretless bass- and Münzner) I thought a new prolific era would follow (not that the band had ever been sterile in the past).
Hence, I felt somewhat uneasy when I heard the news about the breakup of this extremely gifted lineup once again. “What the f@@@?” was the immediate reaction for many of us, since everything had seemed to be going perfectly for the band (and we all expected them to reach new, unfathomable heights). The sad news that emerged afterward shed some light, but I won’t comment on the band members’ accusations or relationships. Here, I’ll stick solely to musical matters. Anyway, last year, Kummerer went on to recruit Kevin Olasz on guitars, Robin Zielhorst on bass, and James Stewart on drums, preparing the ground for the second part of the trilogy that’s currently underway. But the real slap in the face came when “A Sonication” was released.
First, let me clarify that the new album isn’t bad at all. However, the magnificent multilevel structures we encountered in previous works are somewhat softened here, in favor of a more direct and ear-friendly approach that many of us aren’t used to. Obscura have always been influenced by Death, Cynic, and Atheist -under a rather modern veil- but these influences aren’t at the epicenter of “A Sonication”. To me, it sounds more like a catchy melodeath album that nevertheless retains Obscura’s technical prowess. Without offering any hidden surprises, it declares that the core is still Obscura, though presented in a simplified way rather than through the whimsical structures of past albums.
The opener, “Silver Linings”, with its dynamic, storming guitar themes, immediately declares the aforementioned melodicism (an approach that first became evident in “Diluvium” and “A Valediction”). Obscura -even in this simpler version of themselves- still demonstrate subtlety in songwriting. Their palette is embellished with technical flourishes, virtuosic leads, and solos that bind everything together and reflect Kummerer’s experience (“In Solitude”). And as a prolonged, steadfast affirmation of Obscura’s arsenal, Zielhorst’s punctuated, delicate bass lines excel as a tight knot.
The intriguing “The Sun Eater” deserves special mention for its ominous, heavy atmosphere, which adds diversity to the album. It’s an opportunity for Obscura to showcase a different side of themselves -an experiment they’ve attempted successfully in the past (though not quite reaching the brutality of “Devoured Usurper”). I’ve always appreciated their tendency to explore more savage forms of death metal, especially since Kummerer is fluent in using various vocal tones.
On the contrary, there are moments when I wish something more interesting would happen -something that would truly stir me. Indicatively, “Evenfall” is a melodic idea that sadly feels incomplete and inadequate by Obscura’s standards (a rather unsuccessful choice for the album’s single). Even the instrumental “Beyond the Seventh Sun” may be initially appealing, with its engaging guitar themes and bass brought to the foreground, but it ultimately lacks the ingenuity and progressiveness of “Orbital Elements II”. Simply put, besides all band members’ undoubted skillfulness, the breadth and depth of musical content might leave an experienced listener somewhat unsatisfied (“Stardust”, “A Sonication”), as Obscura explored a comparatively smaller sonic territory this time. Hence, the album’s short duration -just under forty minutes- is definitely a plus.
Of course, Obscura remain one of my favorite bands and I admit that I’ve become somewhat rigid with them. They’ve made me expect a lot, and now I feel they’ve taken a safer route -ultimately offering less than anticipated. But I also wanted to be fair -that’s why I delayed writing this review purposefully. I waited to see how “A Sonication” works in the long term, but no matter the considerable amount of time I dedicated, I couldn’t connect with it.
Probably the timing wasn’t right. I wish that Obscura get the train back on track soon. Until then, “A Sonication” -despite its trademark elements- will be the first (and I hope the last) weak point in their discography. It might serve as a suitable entry point for younger fans to become acquainted with this spectacular band. However, if someone wants to feel -not just listen to- Obscura, then the clear choices are the astonishing “Diluvium” and the mind-blowing -and perfect in every sense- “A Valediction”.
♦ 6,5/10
Alex Nikolaidis
