Obituary – Obituary (Album Review)

Obituary – Obituary (Album Review)

obituary-promo

Obituary has come a long way since its inception, not only in regard to membership but more so with its musical development. While the American Death Metal band’s earlier works were brasher, rawer, and tinnier, much of its recent albums nonetheless have become much fuller and powerful, yet its overall music has remained as aggressive and abrasive as ever. After all, Obituary is one of the most successful, enduring, and influential bands in the genre.

Formed in 1984, in Florida, United States, Obituary weathered through all the lineup changes and industry challenges over the years, with founding members John Tardy (vocals), Trevor Peres (rhythm guitar), and Donald Tardy (drums) soldiering on, and joined currently by Kenny Andrews (lead guitar) and Terry Butler (bass). In their 33-year tenure, the hardworking band has released ten albums – from 1989’s Slowly We Rot to the newly unleashed, confidently self-titled offering.

Slated for release on March 17, 2017 via Relapse Records, Obituary’s first eponymous album is an unapologetic barrage of deathly and lively dissonance of sounds; albeit underneath the songs’ seemingly chaotic noise reside an order of structures and souls of melodies yearning to be heard.

Obituary starts straightaway with the merciless speed and insane blast beats of the aptly titled “Brave.” The dangerous chops continue on with “Sentence Day,” whose chordal rhythm-guitar shreds and lightning-bolt ad-lib may remind the initiated of the Thrash attack of Metallica’s “Hit the Lights.” Images of galloping horsemen raging to war then conjure up as “Lessons in Vengeance” blasts its way through the speakers. With the ensuing “End It Now,” the blacksmiths of Obituary then raise and start pounding their mjölnirs relentlessly in synchronicity – a cue for Metalheads to brace their necks and prepare their long-haired heads.

The mood slows down a bit with “Kneel Before Me,” but the neighing guitars remain foreboding as ever. “It Lives” is the moment when the throng of slit-eyed listeners begin banging their heads in unified surrender. Following next is “Betrayed,” which stands out for its sudden change of style; its funk and groove betray its Worldbeat-infused Nu Metal sensibilities in a good way, connecting the song to similar excursions by icons of the genre, such as Pantera (“Cowboys from Hell”) and Sepultura (“Roots Bloody Roots”).

Their mid-tempo makes “Turned to Stone” and “Straight to Hell” apt as proper Death Metal songs, in which the emphasis is on the guttural growls, hacksaw guitar power chords, and bone-crashing drum beats. Finally, Obituary ends its seemingly conceptual album with the twisted and beautiful “Ten Thousand Ways to Die,” whose markedly melodic guitar line makes for an effective ear-catching album closer. Indeed, there is melody and harmony buried beneath the dissonance and cacophony; that fascinating limbo between life and death; the mysterious curves and dots connecting the yin and the yang; the melancholic beauty of obituaries.

Detractors might have long been claiming that the classic sound of Death Metal has gone anachronistic or out of vogue in the advent of more extreme and sonically anarchistic Metalcore, Grindcore, and other hardcore Metal subgenres. However, Obituary’s latest batch of songs proves that the genre within which the band operates is, after all, still the root and core of all these Metal sub-cores that have developed over the years. 

All this said, Obituary’s new masterpiece is also a living (or better yet, deathly) proof that Death Metal is not always about chaos and disharmony. So while many of the genre’s original purveyors like Autopsy (“Teeth of the Shadow Horde”), Cannibal Corpse (“Headlong into Carnage”), and Kreator (“Death Becomes My Light”) have also recently released new materials, at the forefront is Obituary. Their new masterstroke spirals down into the ear canals, hammering its way through the deepest depths and most primitive parts of the auditory sense. CrypticRock gives Obituary 4 out of 5 stars.

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aLfie vera mella
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Born in 1971, in Metro Manila, Philippines, aLfie vera mella is a healthcare worker, singer/songwriter, and editor/writer. He was the frontman of the ’90s-peaking Philippine Alternative Rock / New Wave band Half Life Half Death, which released a full-length album and several singles on Viva Records. aLfie worked at Diwa Scholastic Press as an editor/writer of academic textbooks and supplementary magazines, focusing on Science & Technology and English Grammar & Literature. In 2003, aLfie migrated to Canada; he has since been living in Winnipeg, Manitoba. He works full-time at a healthcare institution, while serving as the associate contributing editor of Filipino Journal—a local community newspaper in Winnipeg—tackling Literature, Languages, Cultures, Lifestyles, and Music. As a means to further his passion for music, he formed the band haLf man haLf eLf. He now performs with another band, The Psychedelics. aLfie has been a music journalist since the mid-’90s for various print magazines as well as websites. He began writing album reviews for CrypticRock in 2015. In 2016, aLfie published Part One (Literature & Languages and Their Cultural Significance) of his Essay Series, Can You Hear the Sound of a Falling Leaf? His next planned literary endeavor is to publish the remaining parts of the anthology and his works on Poetry, Fantasy Fiction, and Mythology. In his spare time, he enjoys reading books and listening to music. He participates at various community events; and he explores the diverse cultural beauty of Canada whenever his schedule permits it. aLfie is a doting and dedicated father to his now ten-year-old son, Evawwen.

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