Obsidium

Bayern München is the most successful football club of my homeland and has won the German Bundesliga six times in a row. In the meantime, even some fans of this great club feel the wish that another team wins the championship, just to regain the feeling that the first place in the final ranking is no matter of course. And to bring this slightly weird analogy (sorry for that) to an end: "Pentagrammaton" was the full-length which made us clear that even the experienced dudes from Enthroned are not immune against ambivalent outputs. Okay, we knew this already since "Armoured Bestial Hell", but I belong to this species of metal freaks who like to forget disappointing albums as soon as possible... Anyway, it is all the more gratifying that the homogeneous and well produced "Obsidium" appears as the revenge. The Belgian institution has regained its punchy, charismatic and merciless approach that entitles them to challenge their genre-immanent competitors.

There can be no doubt that the original line-up of Enthroned was highly influenced by the Scandinavian black metal explosion and "Obsidium" goes a step back to the roots of the formation. Large-sized leads - enjoy the quasi-title track "Nonvs Sacramentvm - Obsidium" or "Petraolevm Saliva" in this context - open the gates to dark panoramas without neglecting the necessary amount of pressure. The leads of "Horns Aflame" also summon the spirit of the old days. And needless to say, the guitars profit from a competent support. Garghuf, the dark creature behind the kit, contributes a lot of fiercely hammering parts, but his drumming never drowns in stupidity. With that said, you know the first crucial difference between "Pentagrammaton" and "Obsidium". But there are more significant changes. Especially the production is much better than that of the predecessor. It is sharper, better balanced and more lethal. Enthroned have learned from the past. "Pentagrammaton" was no fiasco, but it left room for improvement and the quartet was able to identify and fill that room. Thus, they swing the black metal axes with great success and it is an ironic twist of fate that many of their influential role models, in particular the Norwegian ones, have dropped like flies during the last two decades - but Enthroned are still standing. Regardless of their numerous line-up changes, they neither lack stamina nor conviction. Not only because of this parallel, the dudes from Brussels can be compared with Marduk.

The leads have the same "Mardukian" mix of brutality (90%) and melody (10%), the commanding vocals express hostility and destruction. Every now and then, unholy background choirs show up and add a gloomy touch. But the dominating feature of "Obsidium" is its violent vehemence, the massiveness of compositions like "Deathmoor". Its neighbour, "Oblivious Shades", starts almost melancholic, but it does not take long until the guys give full speed ahead again. Some brief blast beats section destroy any enemy, but even during the fastest moments, the band does not forget to integrate some fine, effective guitar leads. In my opinion, the songs are more meticulously designed than those of "Pentagrammaton", because I find more interesting details here. A little bit problematic is the fact that one or two absolutely outstanding tracks are missing, but the entire album grows with each new round. In addition, the material avoids an overdose of breaks as well as repetitiveness and the songs have a good flow. The general quality level is high and so the whole longplayer scores with stability and substance. No doubt, "Obsidium" is a very professional work - but this also means that the juvenile naivety, which played a part during the recordings of the fascinating debut, does not reappear. We cannot have it all... Long story short, "Obsidium" gives a meaning to the underperformance of "Pentagrammaton". Hopefully I see a sense in the recent underperformances of Bayern München as well.

Enthroned hail from Belgium, and are without compare one of the most important, long lived black metal bands in that scene. Obsidium is their 9th full length album, and another dose of fiery, well-produced evil from a band that can seemingly do no wrong. Indeed, I count Enthroned as one of the most consistent bands within all the realms of black metal, slowly but surely building their malevolent kingdom one brick at a time. Though they’ve never quite enraptured me as much as some other projects that roam the godless blackened lands, they’ve nevertheless remained a beacon of quality for going on 20 years. Obsidium continues the philosophy of refinement rather than reinvention, a formula the band have distilled to a damn tasty degree, slowly rising in vitriolic percentage, and a listen to this will make your decadent spirit tremble in glee, just as a shot of 151 would do to your liver in horror.

At 40 minutes, Obsidium is pretty to the point. This is very Swedish sounding, melodically-inclined black metal with a focus on the riffing, which largely succeeds in its impure mission. The chord progressions here are like a true flood of primal black energy, fermented in nobility and hate, riding the winds of Armageddon with a practiced grace. Riffing backdrops range from mid-paced to storming, always accompanied by a selection of ancient, unsettling notation. The more intense bits remind me very strongly of Marduk, as do the pestilent emanations of singer Nornagest, a satisfying, spiteful snarl. I love Phorgath’s roiling, pulsating bass tone; it’s nice and audible, and feels like a subtle undercurrent of warmth in a hostile, frozen world, or the lifeblood of some nocturnal horror. Drummer Garghuf reprises his role from the last record, and performs with the level of professionalism and celerity one would expect of such a respected institution, blasting with easy confidence and even adding some subtle cymbal-work for a covert flourish or two.

The 9 songs here didn’t feel as varied or distinguishable as I had expected at first, but after number of listens, the subtleties really begin to take shape, and the character of each song becomes apparent. One gain, much of this material is heavily reminiscent of Marduk, but there are other flavors at work as well. The panoramic, icy riffing often feels similar to Gorgoroth, and the melodic leads are somewhat redolent of Dark Funeral or Lord Belial. However, don’t let that ring with negativity, for if you have a proclivity for strong, well-produced black metal, there isn’t a single track here that will let you down. I mention these names just to entice you, as they may be indicative of your enjoyment of Obsidium.

If one were to level any complaints against this, it would be that nothing in the stylistic tendencies or riff-craft is going to be inherently new to anyone well acquainted with the black metal multiverse, as the tricks here have been done pretty much countless times. Make no mistake, this is pretty traditional stuff, utilizing established and prevalent techniques, but the way they go about it, and the quality of the average riff here, is quite compelling. Enthroned’s primary mode of attack is a biting, furious wind, sometimes building layers of good riffs on top of each other to create a very flowing, expressive attack.

Anyone who has read a decent amount of my reviews can tell my primary means of expression concerning music is the mental imagery it conjures, and this is based on my innate sense of connection to what an artist is trying to accomplish. Originality is not always important; it’s more interesting to behold and bask in vision. To that effect, I don’t give two shits if Enthroned aren’t the most eccentric kid in the black metal playground, because I like the feeling of their music. It resonates with my strange, warped spirit and sends it spiraling off to ancient, forgotten lava fields that work in tandem with my imagination to succeed. Such is music, though, I suppose.

This album is clean and crushing, like a crystalline tower, and marks the creation of another splendid spire, an excellent addition to Enthroned’s ever-expanding castle. I have a lot of fun listening to it and reveling in the permeating atmosphere, and that alone makes it good. It has not sunk deep enough into my memory in order for me to consider it amazing, but it’s one of the best black metal releases I’ve heard this year, and it’s growing on me every single time I listen to it, so it’s going to stay in rotation for awhile, you can bet your corpse-painted ass.

True to Enthroned’s MO, Obsidium is a strong, compelling gust of blackened majesty that seems to give as much as you’re prepared to put into it, but still strikes somewhere short of immortality. Still, for any black metal neophytes and wizards who enjoy the cleaner, tighter, more melodic variations on the genre like Marduk, Naglfar, Lord Belial, and Dark Funeral (all ironically from Sweden), then I urge you to check out not only this, but Enthroned’s entire career, an unholy flame that has not lost a fraction of its spirit or fury, continuing to burn with passion, skill, and integrity.

-Left Hand of Dog
http://reaperdivision.blogspot.com/

Grab your cloak of skinned oxen, uncork your vile of goat semen and draw with it a pentagram. Light the candles in thirteen and cuddle up with Enthroned's latest offering Obsidium. Enthroned of Belgium are no strangers to the underground bleakness of black metal, having been around almost two decades since their inception when the band released their split with Ancient Rites in 1994.
Now, let us begin the ritual of writing a review, (hold up, let me grab my sacrificial dagger for inspiration).

Right off the bat, the album name and cover scream "heard this before". Fucking christ hit us with something gaunt and bleak, we're not twelve we can handle it. Instead were given a black metal version of something Jacob Bannon (Converge) would do if he decided to slather on corpse paint and attack a photoshop document. Take a page from Lunar Aurora or Darkthrone for fuck's sake.

I digress… With so many bands riding under the blackened flag of black metal it's hard to stand out, and Enthroned definitely don't stray too far from the comforting arms of unoriginality. However, not everything is vanilla flavoured, they make successful effort incorporating a chanted verse here, intriguing riff there and even a heathanistic battle cry or two. Keyboards are present serving as the driving force for the atmosphere, neither overused, nor dominant. It's okay in my books. The vocal range is refreshing, shifting from cold howls to bellowed growls, the occasional croon of incantation and even a distant yell here and there.

I can't sit here and praise this as an unfurling black metal opus, but Obsidium does offer up blistering paced black metal overflowing with blaspheme served on a silver platter, guts and all. Listen to the last song 'Thy Blight Vacuum', it's the albums highlight, and one can attain the sense of force these belgians can bring to the table. If I'm being an optimist, the song has moments that can be reminiscent to Teitanblood, Mitochondrion or Deathspell Omega albeit the raw dirge they all bring forth. If I'm being realistic it bears more of a resemblance to that of Marduk, Dark Funeral or Setherial.

All in all, I would of liked a little more originality with a more raw and less plastic aesthetic but I have to hand it to Enthroned, they still can deliver songs to punch priests and kick nuns to with a path of destruction in its wake.

(Written for Severed Heads Open Minds + Halifax Collect)

Some black metal bands are experiencing tortuous career. Frequent changes of staff and artistic shifts may eventually dull the most hardened wills. However, some groups resist storms and continue to shine with a beautiful vitality. This is the case of the Belgians from Enthroned, which release albums with regularity since the mid-1990s. However, so many pitfalls! Not a single original member still belongs to the band since 2006. One of them has even taken its own life! Yet these blasphemers continue to rage, against all odds.

Formerly officiating in the not-at-all subtle register of true black metal, these fellows from the flat country undertook a musical evolution – closer to death metal – from the album Tetra Karcist (2007). Change of course confirmed two years ago with Pentagrammaton (2010), a record that did not convince me. Monotonous and lacking in bite, this album was a rare false note in an otherwise high quality discography. Enthroned is therefore launching Obsidium this year (2012), a first record for Agonia Records, who took over for moribund label Regain Records.

Let’s confirm immediately the determination of the band to continue its way down the road of blackened death metal. Any possible ambiguity is vanished when the first notes rang and the voice springs from the darkness: it will be brutal! A compact production gives the album a massive sound and a nice toughness, but sometimes lacks finish, especially for guitars. The composition clearly favours speed, which rolled from Sepulchred Within Opaque Slumber to the unwary listener. Through the flood of aggression, the band shows its tremendous capacity of aligning very good riffs, especially on Deathmoor with its catchy rhythm section. Oblivious Shades is a mid-tempo interlude, but the hype will resume with The Final Architect. I give a special mention to Petraolevm Salvia, best song on the disc, which has a beautiful atmosphere and a sense of desperation. However, the last two tracks are less interesting and badly conclude an album that deserved better.

Nevertheless, I am reassured. Obsidium is neither a revolution nor a strict return to the sources, but is a very good chapter in the career of Enthroned. It shows more urgency, more instinct, through compositions more raw than the previous record. This album is perhaps not enough to console the fans still in love the 1990s, but it can satisfy anyone who loves a tough and uncompromising music, performed by very experienced musicians. 8/10

Initially written for metalobscur.com

Having been actively releasing black metal from Belgium since the early 90’s, one would think that Enthroned have run out of fuel for the fire; and thus, I approached this album with ever so slight trepidation. This is was unfair judgment on my part, and while it may not be an immensely monumental album, it’s probably up there among their best releases, and it does have some characteristics that detach it from other black metal today. Having traditional black metal woven together thoughtfully with other enriching qualities, “Obsidium” definitely delivers and shows that Enthroned are creative and more than capable in their songwriting to produce a memorable album; and that's exactly what they've done.

What forthwith manifests itself in the first song is more or less conventional black metal with the riffs that it usually contains. Towards the latter half of the song, however, the listener will be met by a more mellow, slow and discordant riff, before lapsing straight into blast beat-ridden, furious black metal. The production is extremely well produced, perhaps one could argue too well (that is, for cheap-production whores), but it does suit their style of black metal nicely. Their style is dense in regards to the riffing and the overall sound that it gives off, differing from other bands in that it’s not abrasive nor orthodox, but more compact and hefty. Lots of grooves are seen throughout the forty minutes of the album, and there is a good amount of variety so as to uphold the listener’s attention, only in few places having slightly sub-par riffs.

Enthroned tend to excel when they delve into slower, more somber passages, because those are usually the ones that are most creative and most entertaining; hence, the drumming can become somewhat worn at times, because it tends to be just extremely fast blast beats. The guitars tremolo-pick along, and the drums blast at mind-blowing speeds, and while in theory this should be considered a great thing, it can become slightly stale. There are exceptions for this, however, as shown in the intro to “Deathmoor” or some other segments where the blast beats fit perfectly. This doesn’t detract from the album’s quality as a whole, though, as their focus leans more to the guitars than anything else. The vocals are the typical black metal ones, penetrative and raspy.

There’s a lot of variety to been seen in “Obsidium,” which is great as it holds the listener’s attention throughout the whole album; conversely to what some other bands do and stick to just one monotonous sound. Enthroned have achieved a more than decent album when the odds weren’t exactly in their favor, and hopefully they’ll continue to release good black metal. Highly recommended for fans of the genre and a nice surprise for people like me who approach albums like these with apprehension. That apprehension was no doubt rendered incorrect after having listened through the whole record, and anyone who picks this one up should be fairly satisfied with the purchase.

-SmithMetal84
http://ravenousreviewswebzine.blogspot.com/

There are always certain preconceptions one forms for a band like Enthroned who are more or less an institution in the black metal scene due to their level of perseverance and survivability. When I hear a new album from the Belgians, I know the following: It's going to be damn well produced. The cover art will prove interesting and memorable. The songwriting will involve top of the line musicianship for its form. The aural aesthetics of the album will be at best somber, but more likely menacing, atmospheric and utterly dark. The lyrics will be thoughtful and threatening. And for the past 15 or so years and seven full-lengths beyond the debut Prophecies of Pagan Fire, I would have added that it's probably not going to be an album I really care for or remember long past the initial exposure. Hell, even the debut itself could not be counted as a personal favorite, but it does evoke some nostalgia being one of the first such records from Belgium that i owned.

I say all this because their 9th long player, Obisidum is the most immersive and interesting album they've written in a very long time. Ever, perhaps. The context is much the same as its predecessor Pentagrammaton: dark and obscure occult philosophies propelled by tense, traditional black metal fundamentals. The band's blasting is on par with nearly everything else out of Europe, and the rasp of frontman Nornagest easily comparable to other long term tyrants of Europe like Marduk, Dark Funeral and Satyricon. Taut, rampaging tremolo rhythms are interspersed with moodier, dissonant sluggish sequences that transform a tune like "Sepulchred Within Opaque Slumber" or "Oblivious Shades" into a haunting vortex of oblique misery. But what I most loved about the album is the strong use of chanting, sparse synthesizers and other crucial catalysts of atmosphere that help to break up some of the more predictable patterns on the album; or the tendency towards massive, spring-loaded grooves as in "Horns Aflame" which evolve it from a 'pretty good' black metal record into a potential juggernaut.

Enthroned don't dowse us in pretty spikes of accessible melody, but dissonant flumes of convulsive chaos that wrench at the very tether of our souls. Where these rushed rapids of hostility are conjoined with the dour, concentric chants as in the bridge of "Petraolevm Salvia" before its ear splitting, frenetic lead guitar, Obsidium takes on an immense depth that I simply cannot contribute to a lot of their average alumni like Carnage in Worlds Beyond or Towards the Skullthrone of Satan. There's an increased willingness to expand their central sound, to try new things without tipping the scales, and it really pays off. Each time I would listen through this beast, I got the feeling I had just journeyed through some dark tunnel of apparitions, lucky to emerge from the other end. The individual guitar riffs might not possess the greatest level of memorable compulsion, but wrought in such furious explosions as these they become very hard to resist indeed, and they've certainly piqued my attention far more than they have in memory. Well fucking done.

-autothrall
http://www.fromthedustreturned.com