"Seth Light" is arguably the most memorable track on this second
release by Obake (which apparently stands for some
kind of ghost in Japanese culture). But you should not take
"memorable" the wrong way as it is not a reference to its almost
nonexistent melody, but rather to the striking impression of its sonic inferno.
Vocalist Lorenzo Esposito Fornasari shows no trace
of his Opera education but does exhibit his qualities as an experimental
performer, not unlike Mike Patton. He yells the lyrics with an admirable
restraint which makes them sound - at times - like a violent whisper, yet with a sensitivity that gives them a somewhat tuneful shade.
The rhythm guitars form an allusion to Porcupine Tree at times (only quite
heavier) - and it is indeed Porcupine Tree's own Colin Edwin who handles the
bass here and also contributes to the music's tangible lines, whereas the
overall sense of catastrophe is maintained by Fornasari's
keyboard curtains and Balazs Pandi's
articulate, hard hitting drums.
This album is relentless and dark in its timbres, spawning a troublesome,
stirring and beastly experience, and although it might sound a bit monotonic on
the surface it is this confined sonic space which gives the music its singular
voice; plus there is certainly diversity to be found in the sludge metal to
ambience transformation of "Transfiguration" or in the David Sylvian inspired esthetics and vocal delivery found in the
beginning of "Infinite Chain," before it evolves into a powerful post
If you crave for a hard core yet impressionistic variation of Tool, Obake and its thick Mutations is definitely the way to go. (8/10)
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