ALBUM REVIEW: Pathos – Obsidian Sea
In a world so focused on moving forward and constantly searching for new innovations, inventions and ideas, we have seen a plethora of new genres, sub-genres and sub-sub-genres in recent years. This constant desire to do something new by melding elements of disparate musical tastes and creating something that has never been done before is what has given us some of 21st century metal’s most celebrated figures. But sometimes, arguably the most innovative thing to do is look backwards and revisit the building blocks of everything we have today, which is exactly what Bulgarian proto-rockers OBSIDIAN SEA have done on their fourth album Pathos.
The entirety of Pathos sounds as if it has been plucked out of the 1970s, remastered for today and re-released to the world. On the surface, this comparison is due to the fantastic brand of prog metal OBSIDIAN SEA are playing, clearly inspired by the likes of LED ZEPPELIN or JETHRO TULL; but the deeper level to this comparison is that it’s the critically-acclaimed gems of the era that receive the remaster treatment after 50-or-so years. This is a spectacular slice of a bygone era; an homage to the pioneers that pays perfect tribute to everything that came before and reminds the audience of today what a vital sub-genre prog metal is.
What stands out as being the most impressive factor of this record though is that however familiar the stylings may be, it still feels fresh and new. There is no mistaking the gargantuan riffs of The Long Drowning as a cover version of a prog classic; no danger of thinking the fast-paced virtuosity of Lament The Death Of Wonder is a rip off of a deep cut from your dad’s boyhood record collection; the entire record is undeniably, irresistibly new, and still feels innovative without reinventing the wheel.
Totalling seven tracks and spanning 40 minutes, Pathos plays out at an impressive clip. It could be the familiarity of the style, allowing it to wash over you like a warm bath; or it could be OBSIDIAN SEA‘s refusal to sit still at risk of stagnating – each track switches gears to ensure they’re covering all bases, from the anthemic choruses and bang-your-head chugging, to the introspective phrases and the instrumental madness. The flip side of the argument though is that the songs toward the tail-end of the album are weaker than at the start. It’s negligible, but you’re likely to find yourself singing the guitar lines and choruses of the first half of the album, while less able to recall the final three songs. To be clear, none of the songs are bad – or even, less than great – but the instantaneous nature of the start of the record is what makes or breaks a listener’s broader views on an album.
In a week where the metal world will be dominated by releases from some of today’s most innovative bands, it may seem like bad timing for Pathos to come out. On the other hand, it may be the perfect time, because with everybody trying something new, sometimes it’s just nice to hear something old done in a new way. Viva yesteryear.
Rating: 8/10
Pathos is out now via Ripple Music.
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