Obscura worshippers act like the band's sporadic take on the progressive/technical death metal sound could cure amnesia, gout, and maybe ADHD to a certain degree. Obscura's universe grew from stardust to the whooping supernova that it is now particularly with the release and warm reception of "Cosmogenesis" in 2009, and many were attracted to the group's updated version of progressive/technical death metal which was originally wired by Atheist, Cynic and the other originators of radical extremity. I was pretty dodgy when it came to finally checking out Obscura because the band's following was too sudden and voluminous, and Necrophagist associations were flying from every angle of the fanboy spectrum, which was enough to make me vomit uncontrollably.But I finally let my guard down, and now I'm pretty sold on these guys. I mean, the formula they use is a proper representation of how progressive death metal should appear, but at the same time, Obscura manages to muster enough clarity and substance within the group's basic (if you can call it that) equation. "Omnivium" is quite tame for an album that is clearly on the evolved side of things, with the guitar work revolving around everyday techniques and riffs of death metal, yet the band's main bloodline finds itself mashed into abnormal scales and celestial elements that scream of progressive influence and abstract technicality. They also manage to throw in an abundance of spastic bass playing and neoclassical solos which oddly bend and twist to match the group's harsh agenda. Not very original, but still listenable and enjoyable.
The opening "Septuagint" sticks to an abrasive edge of harsh melodic death metal that explores the outer limits of progressive music incredibly well, and the band's musical performance transcends above the other units of "Omnivium" with little problem. The crushing grooves of "Ocean Gateways" are another stand out, whereas the group's plunge into modernity makes "Primal Dawn" and "Euclidean Elements" killer tracks as well, both catchy and budding with addictive hooks and abstractions. "A Transcendental Serenade" presents a progressive-laden approach most of "Omnivium" hinders, but at the same time there are blast beats and that weird vocoder thing that Cynic uses; again, another consistent tune.
"Omnivium" really isn't extraordinary. Musically, no barriers are broken. However, the listen that ensues seldom fails on a massive level, or even manages to bore for that matter. Obscura is at least a compelling progressive act which triggers a glowing sense of authentic technicality stacked with more riffs and mesmerizing solos than the Origins or Necrophagists of technical death metal's forefront. Don't prepare for a total reanimation of progressive/technical death metal; instead, allow Obscura to channel their influences through a modern medium, and then you will see why Obscura has the means to rightfully reign over this new age of death metal progression.