obsidiantongue-anestofravens-reviews

Review from Ech(((o)))es and Dust Webzine

Wed, 13 Aug 2014 08:38:28 +0100

From: Ech(((o)))es and Dust Webzine

Published: August 1, 2014

When I ask myself what black metal is, I’m at a loss of words sometimes. Everyone out there thinks they are right, they know what black metal is, should be, etc. etc. I personally don’t care. I know the genesis of black metal, the bands that a lot of people site as starters of the genre. But, here isn’t the place to have this major debate that will forever be had. I’ll call Obsidian Tongue a black metal band, albeit one that isn’t afraid to expand their horizons and not be limited by the “genre”. A Nest of Ravens in the Throat of Time is album number two from these Massachusetts boys. And it’s a bleak story they have to tell.

Consisting of guitarist/vocalist Brendan Hayter and drummer Greg Murphy, Obsidian Tongue does an excellent job of mixing their spacey, dreamed out melodies as a counteract to their black metal presence. Opening track ‘Brothers in the Stars’ mixes tempos at times, even dipping into a psychedelic “interlude” at one point in the song before the drums come crashing in with tremolo picking and driving riffs. Hayter’s vocals are good, make no mistake. But you would have a hard time telling him apart from many other vocalists. This still doesn’t detour from feeling his voice as he rasps and sings to you all throughout.

Their ability to not stick to a regular formula is catching. It keeps the flow of the songs moving. Be it from the solo leading to dream space on ‘My Hands Were Made to Hold the Wind’ or the up and down tempos of assault to phased out, atmospheric almost, glory on ‘Individuation’. On the closing title-track (which includes vocals from Agalloch’s John Haughm) is drenching in melancholy and slowly plucked guitars set to make the cloud seem extra gray when listening. The song’s later half pulls out a driving beat and what may be the most depressive three-plus minutes of the record. And the soul twisting solo is like a knife in the heart as is weaves all around you. The band doesn’t pull the plug at the end; they just simply fade out, leaving you staring at your shoes while the rain pours around you.

I realize that many bands are taking chances nowadays. No one wants to be “normal”. But in the detouring from normalization, a new norm has been created. That isn’t to say the Obsidian Tongue falls into that stigma at all. They play a fairly familiar type of music, but they also play it very well. They also provide some memorable moments that will have you coming back or re-listening to the album to satisfy the urge your heart has. A Nest of Ravens in the Throat of Time is definitely worth checking out, autumn and winter will be here soon enough, and you’ll need a soundtrack.

You can pick up A Nest of Ravens in the Throat of Time now through Hypnotic Dirge Records. Support artists and musicians you enjoy. Go out and grab this album.

Reviewed by: Ryan Stephenson

Review from Disfactory Webzine

Wed, 13 Aug 2014 08:34:43 +0100

From: Disfactory Webzine

Published: August 1, 2014

Original Link

*Google translation of Italian review

I do not know the onset Volume I: Architecture Subradiant (but I promise that I'm going to find out, maybe I should do so before talking about the new creature but some things "just happen"), then entry into the world of Americans Obsidian Tongue takes all 'dark, thanks to the usual, talented label overseas Hypnotic Dirge Records . By now it's safe-or quasi-(depends on the individual and unique claims) with her so that I could certainly not the slightest doubt about the goodness of A Nest of Ravens in the Throat of Time . Obviously, then, that when you find an opening track as Brothers in the Stars go with the mind beyond "the vague and positive first impression" because a piece of such a high level is a pure blunder psychic who happens to really feel a few times (especially a few times so upset by someone completely unknown to you), music that you nailed to the floor or the chair depending on the circumstances, resounding example of how to handle still tune to impress without the need for further unnecessary frills ( one of the most beautiful riff ever for me, stop). After an opening like that things are a bit all to hell, every expectation "fucking" because you were expecting something is good, but you were not quite ready for THIS; then it took having to do a "brainwash" lightning for change "in the running" degree of attention and expectations towards the product, wait for the perpetual enjoyment arrivals. Instead what happens in the remaining five songs? The answer is obvious as you may have realized by now, our unable to repeat the magic, or rather "that" magic, a hint of disappointment makes its appearance once digested, but one can not help but highlight also the quality of the product. It is however difficult to downsize (maybe it was better off without that song who knows) but at the same time-for those who have the ability to soprassedere- nice things to comb through no shortage of, so in the end the positive vote comes more than fair and deserved patience so if for a moment we thought of something else, it all comes back, and at the end of A Nest Ravens in the Throat of Time becomes mockingly exactly what I had predicted at first glance.

To describe the type of Black Metal played by Obsidian Tongue , you can bring up those names that have recently helped to give the same a "different color", the classic exchange of air in a room locked in too long, with the draft that remains present without completely invade the surrounding atmosphere, an atmosphere that is balanced on a melodic Black Metal as much passion. Agalloch , Wolves In The Throne Room , Woods Of Ypres and the last Enslaved , these are the most famous names who will tell us whether A Nest of Ravens in the Throat of Time will be material to us or not.

The Obsidian Tongue know nothing about the word "hurry", every single song does not seem to want to show against the "all at once", each of them begins to take off his clothes in half by taking down every small / large possible minute, so only in a second time we understand the goal of this meticulous work the hips, this essence so cumbersome and slow when the "really slow" resides however in other places. The voice gives us the sorrowful side and evil (as are occasional moments so-called "epic", and guessed all ready to leave your own memory), strengthening of the compositions that are always looking for the solutions we say "less likely" in this context, managing well or evil always amazing (boredom go away). Taste it will not be easy, because this music is not never descends to terms, the class is there, but maybe you did not notice right away, you have to take time, perhaps more than many similar cases, because when you go to compose a musical form of this type are thought to their welfare in the first place, and then to the other, this is clear, albeit with a distracted listening. A waterfall in the future will swell their appearances, but in the meantime we taste it as it is, in all its beautiful, mellow bitterness.

Constant and intimate fluctuate going to sew in continuation of opaque openings / closings.

Reviewed by: Duke "Selfish" Fog

Rating: 70/100

Review from Moonspell Rites Promotions

Tue, 06 May 2014 14:32:39 +0100

From: Moonspell Rites Promotions

Published: May 5, 2014

Original Link

The release has been out for a while now,but damn!I most definitely missed out on something!Combine influences from bands such as US located bands such as Agalloch with bands from the Scandinavian scene like Ulver (especially the record 'Bergtatt'), and some Doom influenced massive melodic Black Metal.This is just a pure massive piece of songwriting no doubts about that. The song are really diverse and there is not a negative point on the record which i could mention. The production is overwhelming,however not sure where it was recorded.

The lineup exists out of two masterminds namely Greg Murphy(drums) and Brendan Hayter(vocals,guitars).The vocals of Brendan is just perfect coming the traditional Black Metal screams with some outstanding use of his voice,in the style of the mentioned bands above, together with the guest appearance coming from Agalloch mastermind John Haughm himself,which automatically assume he is responsible for the massive brilliant clean vocals.

With the effects from the guitar amp being used,worked away in the songs,gives the record an extra dimension.Desolate fields,and nature are the basics coming to think of it listening to the record.There is not only despair found back in the music, but also aggravation and despair. An album full of emotions worked away just how it sound coming to 'A Nest of Ravens in The Throat of Time'.

There is no specific song which i don't like.Here and there are even some Pink Floyd influences which can be found back.Especially on the selftitled track.All in all i can say,go and check them out, 'cause you won't regret a bit. What I miss out is the note about the bass guitar and who was responsible for it, not being mentioned on for example metal Archives. However it is there on the album, and worked away perfectly in the mix as the rest of the instruments.

Review from Forgotten Path Magazine; Issue 6

Wed, 19 Mar 2014 23:55:26 +0100

From: Forgotten Path Magazine; Issue 6

Published: November 2014

Magazine Website

This band is a typical Black Metal project. Its history is a hundred times told story - from the very beginning it was a one-man project, after a half-year a drummer had joined and they have been playing for four years, releasing one demo and two albums... Besides that, their photos are taken in the forest and in concerts (I mean, where else could they have been taken?) and the lyrics about nature and emotions, which have already become a rule for the bands affected by the Cascadian region’s stage; moreover, everything is boxed up into greatly poetical song titles.

Such boring notices do not fade away after setting the CD to play. They have everything that is obligatory to every modern Atmospheric Black Metal band, which points to the large waters and because of that, they are never tired of sweetening the fans of lighter music and especially, the admirers of Agalloch - I mean, clear vocals, plenty of dreamy, light and trite infixes of Post-Rock, also, beautiful guitar solos (well, actually, they are borrowed from the above mentioned band) or the main melancholic melody, which is sometimes brought to the fore for enhancing the mood. Still, there is nothing that could be described as particularly suggestible - the band doesn’t follow like a sheep to create the mentioned Cascadian sound, they refuse the peculiar atmosphere, which would form a clear and smooth picture at least; moreover, they never sink in the vogue waters of Blackgaze or the much darker present world of Agalloch. Thus, they try to maintain a balance and a bright core of common Atmospheric Black, but this balance seems to be interesting just from the first sight, perhaps, if you haven’t listened to Atmospheric Black Metal before, Obsidian Tongue will leave a perfect impression, but for the headbangers of such music there is nothing to do here as the band doesn’t provide us with anything new. What’s more, the music is performed somehow tamely, spiritlessly and elongated, though it doesn’t overstep the border of one hour.

Rating: 5/10

Reviewed by: Bloodie

Review from The Pit of the Damned Blogspot

Mon, 10 Mar 2014 19:53:37 +0100

From: The Pit of the Damned Blogspot

Published: March 7, 2014

Original Link

*Google translation of Italian review

The Hypnotic Dirge Records continues its search in the deepest underground, looking for bands that have something interesting to say in the field of black metal. Today I stop to expatiate on the second chapter of the discography of American Obsidian Tongue, from the cover that drew in some way my attention. A stylized face in black and white (I think) of the feathers on the head and a symbolic ritual that has conjured up in my mind something imaginary Indian (American), led me to believe that you have something on your hands Extreme contaminated in some way by the songs and music of the Native Americans. My fantasy is traveling too fast because when the abundant nine minutes of "Brothers in the Stars" make their appearance in my stereo, I get attacked by a nice burst of pure, dark black metal that leaves no respite, if only for a few interlude pollution, which the duo of Massachusetts occasionally grants. With the subsequent "Black Hole in Human Form", the U.S. band changes slightly tainting register their ferocious sound with a doom pace initially. Clear that when our stomp on the accelerator, the tone became more bitter and sharp. The relentless blast beats of the song and the sudden deceleration / ramblings, end outline the post-black component of the former one man band by Brendan Hayter. An arpeggio at the end of the track allows me time to catch his breath, before being engulfed by the soothing melody of "My Hands Were Made to Hold the Wind", which allows me to frame from our point of view different from that described so far . The song in fact is much more calm and relaxed, with a wider space assigned to an ambient component and trespassing pagan (Primordial style). This does nothing but increase my interest, not just initially enthusiastic. "The Birth of Tragedy" confirms this trend, combining the ferocity of the black progressive digressions (school Enslaved), and the result certainly more valuable, also dictated by the alternation of choral voices to clean those ugly of American vocalist. Let's say that the album is fluctuating in its liveliness, providing a songwriting is not always homogeneous or height, just as I must admit I prefer the ensemble in the most reasoned and slow down, as it happens right in the middle break of "The Birth of Tragedy "that is a candidate to be the most successful track (and varied) of this 'A Nest of Ravens in the Throat of Time'. With "Individuation" and the closing title track, our definitively seem to straighten the shot even if some voltage drop is seen on several occasions. Let's say that the album still reveals major shortcomings of in terms of songwriting, screaming vocals does not quite live up to the sometimes sterile or furious acceleration, so our hope that they can identify what is not working in the best working on it for the next release, which at this point, I will expect a lot. We'll hear.

Rating: 65/100

Reviewed by: Francesco Scarci

Review from Volumes of Sin Webzine

Fri, 28 Feb 2014 03:52:27 +0100

From: Volumes of Sin Webzine

Published: February 26, 2014

Original Link

Initially, Obsidian Tongue was formed as a solo project by vocalist/guitarist Brendan Hayter in 2009; however shortly after the formation drummer Greg Murphy joined the now two man group. They later released their initial album, Volume I: Subradiant Architecture via Dissociation Records in 2012; this label has also co-released the band's follow-up endeavor, A Nest of Ravens in the Throat of Time which was released a little over a year later. What is to be heard within the deep, dark chambers awaiting audiences in this latest atmospheric black metal assault?

A Nest of Ravens in the Throat of Time is an album that is comprised of equal parts intriguing, bleak, cold calms and violent, raging storms. There are consistent composition and tempo changes throughout all six songs present, each averaging eight minutes or more in length, which causes the listener to feel as though they are experiencing more than just six tracks. From the beginning it's easy to hear the heavy influence newer Enslaved work, as well as Agalloch and Wolves in the Throne Room, have had on the duo; nevertheless the inlay of this content is a raw, emotional display writhing with life and potential.

It's not exactly easy to describe the musical compositions of Obsidian Tongue without making it sound like your standard blast n' riff black metal with Pagan tendencies, however it's much more than that. While the material has its minor bouts of common tremolo picking and blast beat drumming, there are also inventive tribal drum patterns, flanger guitar effects, double bass kicks, soothing solos and exotic, exploratory cymbal work. Often times the drum track hovers over the guitar and vocal tracks and this trait unfortunately pushes the guitars to the wayside often; although the mixing varies nearly as consistently as the tempos themselves and sometimes the guitar can be heard dominating the drums, but this is rare. The vocals are also found sitting at the back of the mix in most cases, only rising up when chants are abound.

The guitar strums a maze of angry, blazing riffs during the heavier content and during serene escapades it tapers off to acoustic, dissonant picking; such as in the tranquil title track, "A Nest of Ravens in the Throat of Time", that features Agalloch vocalist John Haughm. It's also at these low-key points that the listener can recognize gentle synths that fill in the void that the drums leave in their absence. The two strings that tie everything together are both the organic vocals and unprocessed production quality of the album itself. One's throat almost begins to hurt while listening to the shrill screams that rip through the large majority of the content, while whispers and soft spoken-words caress some of the mild areas.

The only way this content could possibly get any better is if Obsidian Tongue injected a little more uniqueness into their approach. Most of what is here has already been done before by bands already mentioned in this review; however the duo at hand are definitely on the right track and doing well at conveying the atmosphere that they seek to unleash. More characterizing guitar tones and a more solid mixing could potentially push the next album to newer heights.

Obsidian Tongue have released undeniably compelling material in their second full-length album, A Nest of Ravens in the Throat of Time. It's a raw, energetic, passionate journey through a bleak and cold atmosphere that captures the spirit of any listener it happens upon; the material lights the occasional fire for warmth through guitar solos, tribal drumming and whispered words. An extremely worthwhile listen for fans of old Opeth and newer Enslaved, and those who enjoy dark, raw atmospheric black metal.

Rating: 7.5/10

Reviewed by: Villi Thorne

Review from Transcending Obscurity Webzine

Fri, 28 Feb 2014 03:51:21 +0100

From: Transcending Obscurity Webzine

Published: February 25, 2014

Original Link

Hypnotic Dirge Records has got some fascinating bands under its roof, among the lukewarm groups comprising the label's roster. The more I explore the various releases bearing the Hypnotic Dirge logo, the more I realize I have been missing out some of the action this fine label has been offering. First, I was blown away by Galaktik Cancer Squad's ‘Ghost Light’, and now this album, the second full length by American band Obsidian Tongue, that holds me captive, ensnaring me with its eclecticism and esoteric attributes associated with the recording.

Dark shoegaze-y sound wash welcomes the listener with a dichotomy of alien vs. familiar sound waves, where black metal and post-rock collide, the musical air becomes in no time dense and dank with effective, vitriolic yet wonderfully melodic riffs accompanied by gritty and excellent vocals; and as soon as you might think here comes another Wolves In The Throne Room clone -- what with the very similar opening riff following the epilogue -- the album wastes no time in taking an abrupt turn, finding quickly its own path to tread.

The true highlights of the album, as far as I'm concerned, are not the highly developed and thought-out blackgaze compositions -- those are beautiful and captivating in their own right -- but rather the occasional pauses, where amidst the metallic maelstrom the music gives way to sombre folk-ish ballads, surreal and velvety, sung in the most hypnotizing clear voice imagined a-la Woods Of Ypres, often in a choir-like fashion, darkening with these unbridled melancholic dirges the already metaphysically blackened streaks embedded into the album's foundations.

The band mostly shines during the slower parts, where their atmosphere-inducing capabilities are exploited to the maximum, but even when the band delve into the distinctive black metal etiquette, displaying the wall of sound, fast drumming, screeching vocals and tremolo-picked riffs formula, they still very much sound like a sweet, rotten nightmare; ever inventive, alluring, sensual and mysteriously magical.

Echoing a plethora of influences and attitudes, from Ulver's and Arcturus' clean singing folk-oriented / neoclassical interludes, through Agalloch's naturalistic, pagan soundscapes conjuring nothing but pure natural beauty of the elements, to Wolves In The Throne Room's majestic crudeness, ‘A Nest Of Ravens In The Throat Of Time’ gathers those fine musical entities under one roof and extrapolates the music of those influential, creative minds, carefully fusing them so they become one, singular, indivisible creation that follows its own paved road to unknown reaches of pure magic and unhealthy beauty.

In the end, Obsidian Tongue did manage to articulate a voice that is very much their own, despite the blatant influences that are plain for all to hear. The complexity of the written songs, their colorful and vibrant nature, the coldness that blows from their direction coupled with the searing, scorching heat of the occasional sun-baked, nirvana-inducing moments of total bliss -- these elements stitched together by beyond-apt musicians, culminate in an orgasm on the ears that spreads malevolently to the other parts of the body.

Equipped with poetically enigmatic textual material that is of the highest quality a metal band can provide, ‘A Nest Of Ravens In The Throat Of Time’ is a fine musical product whose inherent atmospheric, aggressive progressiveness is naturally intertwining with elemental yet gorgeous black metal of the exquisite, sophisticated and philosophical kind; a tool of transcendence, if there ever was one, having no boundaries; fluid and ethereal but also cohesive and robust, predominantly harmonious and melodic to the extreme without sounding whiny or effeminate by any means.

This album comes as highly recommended for the thinking metal aficionados out there, who crave to hear something totally different...yet fundamentally familiar.

Reviewed by: Chaim Drishner

Review from Legacy Magazine; Issue #86

Fri, 28 Feb 2014 02:55:42 +0100

From: Legacy Magazine; Issue #86

Published: September 2013

Magazine Website

*Google translation of German review

If you want to know exactly why the U.S. Black Metal in this country enjoys a still rather mixed reputation, the second album of the two East Coast musician Greg Murphy (drums) and Brendan Hayter (residual) should be pure drive. Obsidian Tongue dig deep into the spice rack for too unique genre assignments to escape. There are songs like, The Birth of Tragedy 'or the opener, Brothers In The Stars', which sound as primitive as old Samael. Were it not for this notoriously boring Uffta rhythm and guitar work that attracts a cat from a tree to the bowl of milk ... The duo then takes refuge with progressive drum patterns or a quiet Entschleunigungspart (in the case of the opener) to a certain extent in variety. But the first significant reef example is Obsidian Tongue in, My Hands Were Made To Hold The Mind ', almost a little folky sound then they do. In the same melodic midtempo groove of the title track, to which Haughm of Agalloch contributes the vocals skin. What makes clearer the Association for Folk: some places are Obsidian Tongue to actually compare with old Agalloch. But otherwise? The most important spice is still the salt. That is missing.

Rating: 6/15

Reviewed by: JF

Review from Pure Nothing Worship Magazine; Issue 2

Fri, 28 Feb 2014 02:54:25 +0100

From: Pure Nothing Worship Magazine; Issue 2

Published: March 2014

Website Link

The second full-length album of this young act from USA offers around 50 minutes of unique, dark and natural black metal in the ever intriguing style arising from the USA, known for it’s primordial and natural sound, that first appeared with the rise of Cascadian black metal movement. Filled to the brim with a vast array of emotions, this album is a storm of pride, melancholy, heathenism and sorrow, and is a solid testament of the talent of these artists from distant Massachusetts. From energetic songs to destructively nostalgic passages and interludes, this is an album that hits with a full force of emotions and leaves a mark on the listener. Especially nice is the guest appearance of the legendary John Haughm of famed Agalloch, whose ever enchanting vocals are found on the album’s final track. This album walks a fine line between dark and black metal, and intertwines the two into a mixture of magnificence. A definite recommendation, and hats off to Obsidian Tongue.

Reviewed by: Aleksandar Nenad

Review from Alternativ Musik Webzine

Thu, 05 Dec 2013 18:04:11 +0100

From: Alternativ Musik Webzine

Published: December 5, 2013

Original Link

*Google translation of German review

'A Nest of Ravens in the Throat of Time' is the second album of the now two-headed Black Metal project grown Obsidian Tongue from Illinois. Musically one moves in typical American black metal realms, as we know it from Wolves in the Throne Room or Agalloch: So the pieces are all about long advised atmospherically dense and vary in mood again and remain unpredictable. Sometimes melancholic, then aggressive outbursts, the listener on A nest of ravens in the throat of time know how to amaze and consistently by keeping on the album itself a high level.

This is mainly due to the variety that does not let even the end of the album. From almost folky sounds you change sometimes, to psychedelic and swirling sounds or demonic whirring guitars there is much to hear. Bottom line, everything remains in itself conclusive, why nothing seems arbitrary and you never have the feeling to discover idle in some cases almost ten minute songs.

Certainly like Obsidian Tongue not invent the wheel again, but they have chosen not only good role models, but also have enough originality and potential, everything also itself well to implement. If you like the bands mentioned above, is Obsidian Tongue certainly like also.

Reviewed by: Tristan Osterfeld