I've had the pleasure of meeting Christian Münzner and he's a pretty nice guy. A bit shy, especially about Obscura's earlier material. I actually asked him if I should pick up Retribution and he told me "No, get Cosmogenesis you don't want Retribution. We were shit back then." Well I already had bought Cosmogenesis, and although I wasn't the biggest fan of the band back then (or now), I liked them because their live performance was solid. They knew how to rile the crowd up, and their playing was precise and not overproduced as happens when you don't have all the studio effects miring everything up.
Personally I didn't enjoy Omnivium one bit. It barely felt like death metal if even extreme metal. Now come 2011 and they've released a compilation like all big name bands in metal seem to do, titled Illegimitation.
Generally compilations are pretty worthless to me. Taking a bunch of
tracks everyone has heard before and pulling them together on an album
to be marketed to fans as a new release is just a cheap way to make a
buck. Obviously that isn't always the case and in particular I love when bands happen to re-record
old tracks just for the compilation. Otherwise it just feels like a
waste of time and money, although occasionally they'll include a few new
tracks to tide over people like myself.
Obscura however, didn't.
Instead we've been given three "new" tracks. In fact they're covers of bands that may have had some sort of influence on Obscura at some point. One cover of Death, one of Atheist, and one of Cynic. Tracks one to four are from Obscura's demo (also titled Illegimitation). Funnily enough, "Fear" is pretty badass. I gotta say it sounds like a less polished, more bass-driven Obscura with a degree of heaviness that their later material seems to lack. Obviously as comes with these first four tracks being demo quality, they're significantly less polished than their recent output. The drumming is imprecise, the guitarwork is much more simple, and the basslines are more mid-paced and groovy. Everything seems to flow well in my opinion, although if you're a fan of Obscura you've heard these same tracks before.
Tracks five to seven are from a preproduction of Cosmogenesis, and I definitely like the sound on these more than that of the album. "Incarnated" sounds more aggressive and "Headworm" is pretty dense for an Obscura track with its chugging triplets. I mean there's nothing special about any of these tracks, but I guess if you wanted to hear how Obscura would sound without the studio overproducing everything they do, this is what it'd be like. The covers however are awful. I cannot stress how horrid the cover of Atheist's "Piece Of Time" is. The vocals are horrendous and there just seems to be some big disconnect between the band and the song. The "How Could I" (Cynic) cover is significantly better but it doesn't really make up for the Atheist cover. The Death cover is pretty passable as is everything Death did post-Human.
There's not much fluidity to the tracks on here and the theme seems to be "unreleased tracks," which is never a justifiable reason to create a compilation unless those unreleased tracks share a similar theme or style. Illegimitation doesn't really show this, with different members, production changes, and stylistic changes all making their appearance on Illegimitation. Oh well. It just further reinforces my opinion that compilations are worthless.
4.75 out of 10
Tracklisting:
Showing posts with label Obscura. Show all posts
Showing posts with label Obscura. Show all posts
Friday, March 9, 2012
Obscura - Illegimitation
Labels:
2012,
4.75,
Bad,
Death Metal,
Illegimitation,
Obscura,
Progressive Metal,
Technical
Saturday, January 14, 2012
Beyond Creation - The Aura
Technical death metal: a polarizing genre that will often devolve into a jazz vs. classical debate, or people bitching about how lame the production is. I might be part of the latter most of the time, but Beyond Creation's debut The Aura is (was) certain to spark debates over the former. Essentially being a technical death metal showcase, it features elements of both neoclassical and jazz music, seamlessly combining the two to create a very rewarding listening experience.
There has to be something in Canada's water supply that causes children to grow up as musical virtuosos. Quebec is known for housing technical titans Gorguts as well as other big names like Quo Vadis, Augury, and now Beyond Creation. The Aura features a ton of melodious, apreggio-based riffing and progressive basslines thanks to Dominic Lapointe's use of a fretless. There are a few times where the riffs on The Aura sound a bit too much like something out of Muhammed Suiçmez' playbook, but for the most part that's the appeal. Virtuosic and semi-indulgent, it's tough to say no to these hooks.
That's not to say there isn't any real heaviness on here either, although a light bass tone and neoclassical riffing might dissuade certain listeners. Tracks like "No Request for the Corrupted" feature chugging low passages, and the superlative "Omnipresent Perception" features a brutal death metal influenced breakdown. Most of the tracks on here are also filled to the brim with hooks and catchy fills that had me coming back for more. "Social Disability" features some great and fluid time signature changes and "Coexistence" sports what could be classified as one of the more simpler hooks on the album, being primarily melodic death metal influenced. That's not to say it's bad or dumbed down either, as the song for the most part holds up well save for the needless breakdown. The title track is solid as well with it's great basslines. In fact I'd have to say the bass is by and far the highlight instrument if there was one on this very composed album. The bass solo on the aforementioned "Omnipresent Perception" is fantastic, and it comes as no surprise that Lapointe is one of the best bassists to come out of the Quebec technical death scene.
And now to the part you saw coming: the production. I'm not sure how I feel about it. It fits the album well and allows the listener to audibly discern every instrument at pretty much every part, but I'm not too keen on the lack of bass again. The high tone of the fretless removes the need for it, but I can only imagine how much more awesome this album would be with some thick, gain-ridden sound to it. It's a minor complaint compared to the obvious sound similarities to German bands Necrophagist and Obscura, but otherwise The Aura is an absolutely stunning debut.
8.25 out of 10
Tracklisting:
There has to be something in Canada's water supply that causes children to grow up as musical virtuosos. Quebec is known for housing technical titans Gorguts as well as other big names like Quo Vadis, Augury, and now Beyond Creation. The Aura features a ton of melodious, apreggio-based riffing and progressive basslines thanks to Dominic Lapointe's use of a fretless. There are a few times where the riffs on The Aura sound a bit too much like something out of Muhammed Suiçmez' playbook, but for the most part that's the appeal. Virtuosic and semi-indulgent, it's tough to say no to these hooks.
That's not to say there isn't any real heaviness on here either, although a light bass tone and neoclassical riffing might dissuade certain listeners. Tracks like "No Request for the Corrupted" feature chugging low passages, and the superlative "Omnipresent Perception" features a brutal death metal influenced breakdown. Most of the tracks on here are also filled to the brim with hooks and catchy fills that had me coming back for more. "Social Disability" features some great and fluid time signature changes and "Coexistence" sports what could be classified as one of the more simpler hooks on the album, being primarily melodic death metal influenced. That's not to say it's bad or dumbed down either, as the song for the most part holds up well save for the needless breakdown. The title track is solid as well with it's great basslines. In fact I'd have to say the bass is by and far the highlight instrument if there was one on this very composed album. The bass solo on the aforementioned "Omnipresent Perception" is fantastic, and it comes as no surprise that Lapointe is one of the best bassists to come out of the Quebec technical death scene.
And now to the part you saw coming: the production. I'm not sure how I feel about it. It fits the album well and allows the listener to audibly discern every instrument at pretty much every part, but I'm not too keen on the lack of bass again. The high tone of the fretless removes the need for it, but I can only imagine how much more awesome this album would be with some thick, gain-ridden sound to it. It's a minor complaint compared to the obvious sound similarities to German bands Necrophagist and Obscura, but otherwise The Aura is an absolutely stunning debut.
8.25 out of 10
Tracklisting:
| 1. | No Request for the Corrupted | ||
| 2. | Coexistence | ||
| 3. | Chromatic Horizon | ||
| 4. | Omnipresent Perception | ||
| 5. | Injustice Revealed | ||
| 6. | Le Détenteur | ||
| 7. | The Aura | ||
| 8. | Social Disability | ||
| 9. | Elevation Path | ||
| 10. | The Deported |
Labels:
2011,
8.25,
Beyond Creation,
Death Metal,
Exceptional,
Melodic Death Metal,
Necrophagist,
Obscura,
Technical,
The Aura
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