Obscura - Omnivium [2011]

There are few bands in the realm of death metal that I take a shine to, but I can usually get into a good progressive or technical death outing. Cosmogenesis easily vaulted Obscura to a level of universal notice, swerving with artsy finesse to spare. As such, I've definitely been anticipating Omnivium, expecting nothing but another quality release; luckily, that's exactly what we have. Omnivium outdoes its predecessor in many ways and takes Obscura into new and exciting directions, managing to do so all without altering their unique vision of spacey metal. This is the perfect example of a band changing just enough. This will probably not, however, do anything to change the minds of those who despised Cosmogenesis, but the willing might as well try anyway, because Omnivium is a release that a deathhead should not miss.

Obscura's technical insanity is rarely matched. This is crazy music that might easily scare away many avid death metal fans, so be warned. If Coroner was stationed in space, slowed down the riff speed, and equipped a growling vocalist, this is likely what the result would sound like. Those familiar with Obscura know, however, that they are not about heaviness. In fact, some could (and do) claim that they aren't very heavy at all, which isn't exactly true. Obscura just knows how to fuse jazzy and artsy elements into their metal, and as far as I'm concerned, it isn't boring; not at all. Omnivium extends the use of these elements, adding more softer parts than ever, which include more clean vocals (low key and added only occasionally for atmosphere) and acoustic parts. These never lose my interest or distract me from the rest of the music, only increasing my appreciation for the album even more. Omnivium certainly isn't for those with an aversion for prog.

The album enters with "Septuagint," which begins with an elegant acoustic intro, forshadowing the increased amount of lighter elements to come. This track is a progressive maelstrom of interwoven parts both heavy and artistic, still managing to retain that level of catchiness I expect from Obscura. "Vortex Omnivium" is next, probably the most set on lowering any musician's self-esteem, delivering a fast, over the top showcase of insanity. "Ocean Gateways" takes a slow, drawn out, but ultimately crushing voyage channeling the "water metal" it no doubt draws its title from. A couple tracks later, "Celestial Spheres" arrives, the piece here that provides the greatest lighter relief. This song is the first of Omnivium's second half, where the album truly finds its rhythm and shifts into legendary territory. "Velocity" is no doubt my favorite of 'em all. The sweeping verse and the repeated "this is the end" phrasing gets in my head for days, and the soloing is absolutely incredible, drawing visions of Watchtower in all the right places. The following instrumental "A Transcendental Serenade" is another highlight, never losing my interest even with the lack of vocals. "Aevum" is a fine progressive track, rounding out the album nicely.

For me, Omnivium is just another awesome album. Some might be disappointed with the softer aspects of this release or the longer lengths of each track, but neither leave me cold in the least. The release's middle section (Euclidean Elements and Prismal Dawn) doesn't quite wow me the way the rest of it does, and it doesn't have extremely high relisten value. Luckily, neither of these factors maim the album of its worth all too much. Great work.

   Overall: 8/10 (Great)