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ObZen

Meshuggah

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Album Review

On first listen, the sound on Obzen, Meshuggah's sixth full-length, is startling, not for its trademark rapid-fire key and tempo changes, or for the intricate, insanely knotty riffs that careened over 2002's Nothing or 2005's Catch Thirty-Three. Instead, it is the rampaging charge that leads off the set on "Combustion," a balls-out sprint that recalls the band's earlier catalog albums like Contradictions Collapse, Destroy Erase Improve, and even Chaosphere. Power, focus and attention to the bone-crushing power are at the center of Obzen. That said, it loses nothing in terms of the band's keen focus of musical or technical innovation or drummer Tomas Haake's songwriting. What it does leave behind is some of the mathy quick-change-for-the-sake-of-it annoyances that were more a show-off of athletic prowess than actual compositional tropes. The melodic orchestration of Catch Thirty-Three has all but disappeared, and in its place is a direct, almost machine-like sense of communication. What's most remarkable is the live drum kit work by Haake. He's constant and startling — the completely crazy bass pedal work on "Bleed" would leave most drummers in the dust. You have to wonder, since the last album featured so many triggered laptop tooled drums. Again: power, compositional ethics, and musical acumen are all tied to one thing, building a foundation that just gets wider, deeper, and more intense as the album wears on. Check the frenetic slash and burn ethos in "Pineal Gland Optics," where both guitars stagger their rhythmic attack keeping vocalist Jens Kidman on the money the whole time. It gives way to the unwound pummeling drum and guitar solo riff that introduces "Pravus," with its sense of taut dynamics, hair-trigger tensions, and an explosiveness that is literally unequaled. This is sheer attack metal, played by a band that has run from simplicity to excess and incorporated them both into a record that is on a level with anything else they've done, even if not all the elements marry perfectly yet. Just get it.

Customer Reviews

I think my brain is melting!

Absolutely awesome! The first song "Combustion" is aptly titled... It thrashes like I haven't heard Meshuggah do in awhile, and the album just gains momentum from there. ObZen doesn't just sound like an atomic missile exploding, it sounds like all the calculus equations programmed into that missile's computer. If you take death metal and jazz and had Albert Einstein and Stephen Hawking write the notation, it would probably sound like this... You could listen to Meshuggah and inadvertently figure out where the universe's unaccounted matter is hidden!!!

Good Metal

It's pretty much impossible to play a meshuggah song unless you're in the band. So I'm content to just play them on my iPod instead! This album is as good as anything else they've done. They're not really a band to re-invent metal so much as just kick it's....um...can we say that word here? Um...well you know what they kick. Buy this record, it's one of this band's best, which is saying a lot!

Another crazy masterpiece from the lords of Extreme Jazz Metal

Like all of their other albums Meshuggah does not disappoint and this album is no exception. Despite the fact that this album retains traits from all of their past albums there is some thing about it that sets it apart. In short the consistency of the album is excellent. It starts and finishes with rhythmic and harmonic fury. It shifts from terrorizing silence to bone crushing heavy riffs. If this review is not truly convincing enough that you should buy the album than listen to it and decide your self.

Biography

Formed: 1987 in Umeå, Sweden

Genre: Rock

Years Active: '80s, '90s, '00s, '10s

Offering a complex form of metal that combined the sweeping adventurism of math rock, the oddball tempos of experimental jazz, and the stunning brutality of thrash metal, Meshuggah raised the bar for metal bands everywhere upon their debut. The roots of Swedish metal band Meshuggah were planted in 1985; originally named Metallien, the founding lineup included frontman Roger Olofsson, guitarists Peder Gustafsson and Fredrik Thordendal, bassist Janne Wiklund, and drummer Örjan Lundmark. After a few...
Full Bio