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PESTILENCE
Obsideo

Candlelight (2013)
Rating: 8/10

So disappointed was I in Pestilence’s 2009 “comeback” opus Resurrection Macabre that I completely lost faith in the death metal scene, especially as there were so many bands – throughout the metal genre – reforming.

For me, Pestilence were always that experimental death metal band from the Netherlands who brought us the brilliant Malleus Maleficarum as a debut opus in 1988, and followed it a year later with the equally magical Consuming Impulse. But one could not argue either with the complexity of Testimony Of The Ancients (1991) and the more bewildering aspects of Spheres (1993).

However, news of another opus, Obsideo, coming two years after their 2011 record Doctrine, wasn’t exactly eagerly awaited by myself, but I’m pleased to say that the band have regained my respect with this ten-track album. Sadly, only guitarist Patrick Uterwijk and vocalist / guitarist Patrick Mameli remain, with Yuma van Eekelen (drums) being replaced by David Haley (Psycroptic, Ruins, Blood Duster) and bassist Jeroen Paul Thesseling (who originally replaced Tony Choy) being substituted with George Maier.

I have to admit that I had concerns that this record was going to be a blistering, albeit bland, death metal affair tainted by modern dynamics, but thankfully I was wrong. I’ve always been a fan of Pestilence at their more technical and jazz-influenced, and Obsideo certainly isn’t afraid to display a few avant-garde meanderings, particularly in those sporadic effects and weird bass arrangements.

Obsideo is the first record under the Candlelight Records roster and it’s one that will not disappoint fans who are looking for something that mixes old school battering with intricate progression. Former frontman Martin van Drunen (Asphyx, Hail Of Bullets, Grand Supreme Blood Court) has long since fled the nest so for the sceptics among you it’s certainly time to move on, and I’m glad I have given these guys another chance because if you ask me, this is the band’s best effort since we were befuddled by Testimony Of The Ancients.

Although the previous album, Doctrine, provided a more technical approach in comparison to the more straightforward and crushing Resurrection Macabre, Obsideo seems to nod more to the past and showcases what Pestilence are all about, with the likes of ‘Soulrot’, ‘Transition’ and ‘Displaced’ focusing on jarring structures while still retaining weight and intensity.

The real stars of the show however are the twisted grooves of ‘Aura Negative’, which inflicts several injuries with its pace, and ‘Laniatus’, featuring some spine-extracting drums and jarring bass-lines.

Obsideo is not the heaviest Pestilence album, but it is certainly the most refreshing since their return to the scene. And although some of the riffs do bear some semblance to those on Doctrine, Pestilence have finally made their mark and proven that their return isn’t the false start everyone was quick to speak of. The musicianship is extremely impressive and although Patrick Mameli’s vocals lack the killer instinct of all those years ago, Pestilence circa 2013 is most certainly a force to be taken seriously.

Neil Arnold

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