ObscuraI think it’s fair to say that Obscura mainman Stefan Kummerer is something of an enthusiast of the works and approach of the late, great Death mainman Chuck Schuldiner. Much like Schudiner did throughout the 1990s, across the last decade, Kummerer has skilfully defined Obscura as a platform to deliver a razor-sharp and precise form of progressive Death Metal, utilizing some of the most outrageous talent the German extreme metal scene has to offer. His participation in the recent ‘Death To All’ tour (in which Obscura served as main support) only underlines the influence Chuck has had on the band but if you’re going to be influenced, why not be influenced by the best?

With three albums so far to their name, Obscura has become a synonym for glittering tech-death proficiency in their own right, blending high-concept science-fiction lyrics/aesthetics with a virtuosity that arguably eclipses that of their forbearers. ‘Akroasis’ is their first release in four years and the time it has taken to gestate shows in every polished, precise second of an incredibly dense and involved album.

7 minute opener ‘Sermon of the Seven Suns’ lays down a real statement of intent – within the first two minutes, we are treated to a blizzard of frenetic, crisp percussion, sinewy riffage and spiralling lead guitar. A brief prog-jazz interlude – replete with the obligatory fretless bass showcase – offers some respite but in the main, its ‘go for the throat’ stuff.

The musicianship here is unquestionable – the rhythm section in particular excels, Sebastian Lanser’s drumming reaching frantically ridiculous heights at times whilst the winding, inventive bass of Linus Klausentizer is impeccable. And as far as ambitiousness goes, ‘Akroasis’ presents some of Obscura’s most challenging moments yet – the title track is relentless in its speed and guitar fireworks whilst the 15 minute closer ‘Weltseele’ is truly Kummerer’s masterpiece so far, merging classical instruments, Arabic melodies and a grand sense of scale to an ever-shifting climax of deft riffing. The serpentine tapping riff towards the end of the piece is quite possibly the album’s highlight.

So there’s plenty of good stuff here but I can’t help but be nagged by doubts as the album spins. Its one thing to pay homage to your heroes, its another to emulate them to the point of plagiarism and I can’t help but feel for all the technical wizardry, there’s very little here under the hood that’s actually that original. The taut, notey riffs are practically lifted at times from the latter Death albums whilst the jazzier, moodier sections are taken straight from Cynic’s 1992 ‘Focus’ landmark. The more melodic moments essentially sound like Dark Tranquility riffs from 1995-96 given a little bit of a modern polish.

This extends to a lot of the lead guitar work across the record – undeniably impressive, it nevertheless brings to mind the sort of thing being peeled off by guitar students across the country on thin-stringed Ibanezes. At the risk of sounding deeply condescending, it’s rather ‘bedroom shredder’ with endless taps, sweeps, dives and other Steve Vai-esque tricks. Great at first but it soon gets wearing, fatiguing the ears by being too obviously schooled and coldly delivered.

It’s a problem that runs across the entirety of ‘Akroasis’ – a sense of sterility, of technicality triumphing all alloyed with a sense that there’s barely an original second of music going on underneath the blistering musicianship. There’s a whiff of the ‘Dream Theatre’ of death metal surrounding the whole exercise and doubtless, fans of that band who have a taste for the heavy will absolutely lap this up, as will anyone who has a penchant for extreme, technical music. I realise that I’m deliberately missing the point a bit with this but this style of progressiveness within metal generally leaves me a little cold and ‘Akroasis’ is no exception. Phenomenally well-played but far too mechanical for my tastes.

(7/10 Frank Allain)

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