UMUR "A Sonication" is the seventh full-length studio album by German death metal act Obscura. The album was released through Nuclear Blast in February 2025. It´s the successor to "A Valediction" from 2021. Only lead vocalist/guitarist (and band founder) Steffen Kummerer remains from the lineup who recorded the predecessor. "A Sonication" was released in the midst of a storm of controversy regarding the songwriting credits, as some former members of the band accused Kummerer of using parts they had written. Parts which according to them, Kummerer had promised to remove from the compositions.

Songwriting controversy or not, Obscura sound more or less like they have done since the release of their second album "Cosmogenesis" (2009). Technical death metal with a progressive edge, influenced by 80s/90s death metal acts like Death and Pestilence (the technical death metal albums by those artists) albeit appearing in a more contemporary skin and sound. Obscura have lifted the foot from the technical playing pedal though, and "A Sonication" overall sounds a bit more straight forward than what Obscura have released since "Cosmogenesis", although "A Valediction" also leaned that way. There are a lot of melodic death metal tendencies here too, and although Obscura have always been quite a melodic inclined technical/progressive metal act, they have increased the melodic death metal elements on "A Sonication". The vocals as usual vary between snarling raw vocals and deeper growling. There are occasionally some raw shouting and slightly more melodic tinged singing on the album too.

Although the material on the 8 tracks, 39:07 minutes long album is overall well written and the album features high level musicianship and a crisp, sharp, and detailed sound production, it´s still like something isn´t right. Obscura sound a bit tame and uninspired and "A Sonication" is an album lacking fire and passion. For a death metal release this is pretty limb, and although no one should ever expect to hear Suffocation or Cannibal Corpse brutality on an Obscura album, a bit more bite and intensity wouldn´t have hurt. It´s not a bad quality release, but it does sound a little sterile and lacking in energy. A 3.5 star (70%) rating is still deserved, but this seems like a crossroads for Obscura, and It´ll be interesting to see where they go from here.

UMUR "A Valediction" is the 6th full-length studio album by German death metal act Obscura. The album was released through Nuclear Blast in November 2021. It´s the successor to "Diluvium" from 2018. It would seem that Obscura is a revolving doors kind of band, as once again there´s been an almost complete change of the lineup between albums. In fact the only remaining member since the predecessor is lead vocalist/guitarist Steffen Kummerer. On the bright side "A Valediction" sees a return of two former members of Obscura in bassist Jeroen Paul Thesseling (previously part of the band from 2007-2011) and guitarist Christian Münzner (previously part of the band from 2008-2014). New drummer David Diepold completes the quartet lineup.

The material on "A Valediction" is unmistakably the sound of Obscura. Melodic and powerful technical/progressive death metal, performed by an incredibly skilled ensemble. Kummerer has chosen to perform most vocals on the album with his snarling aggressive vocal style, and only a very few times (like on "Devoured Usurper") does he perform his deeper growling vocals. There is one clean vocal part on the album on "When Stars Collide", which is performed by Björn "Speed" Strid (Soilwork, The Night Flight Orchestra). The effect laden robotic voices from the previous releases are almost gone from the music.

While the material on "A Valediction" are certainly still technically complex death metal, it´s actually the most melodic and accessible material released by Obscura up until then. It´s to a point where I´m slightly reminded of power metal (listen to parts of "Forsaken" and "Orbital Elements II" for proof of this), but it´s only touches and moments, and this is of course still primarely a death metal release. Thesseling´s fretless bass work provides the tracks with a fusion element, but I´d still say that element has also been pushed back to give space to more straight forward and accessible parts and ideas.

"A Valediction" is well produced, featuring a powerful, detailed, and professional sound production, which suits the material well. Upon conclusion it´s another high quality release by Obscura and although more accessible winds are blowing, "A Valediction" is still a highly technical and often progressive death metal release, loaded with intriguing songwriting ideas, high level performances, and as mentioned a well sounding production job. A 4 star (80%) rating is deserved.

siLLy puPPy With so many technical death metal artists in existence it’s becoming ever more difficult to stay relevant in a room where so many are vying to find a way through the door and usurp your spot but some bands like Germany’s OBSCURA only seem to find a new sense of relevancy with each and every album despite the room becoming more crowded by the second. Going on almost 20 years of existence, these techies led by the legendary guitarist / vocalist / composer Steffen Kummerer has suffered more than most at keeping together a band whose members don’t want to stick around. Acting as more of a tech death university OBSCURA has seen a huge number of cast members rotate through the doors given that only six albums have seen the light of day.

After 2018’s “Diluvium,” the rotating band members all bailed in unison leaving Kummerer to start from scratch and take on the challenge to remain relevant as one of tech death’s most celebrated units all the while training a new crew to keep the ship sailing. Well as luck would have it, former band members Christian Münzner (guitars) and Paul Thesseling (fretless bass) just happened to be free to rejoin the band which takes 3/4 of the lineup back to the classic days of “Cosmogenesis” and “Omnivium,” the now deemed classic era of OBSCURA’s many renditions. To fill in the shoes of powerhouse percussionist comes David Diepold who has been and still remains a vital member of the English band Cognizance.

Three years after “Diluvium,” OBSCURA is back with an axe or two to grind on the sixth installment of their metallic legendary status in the form of A VALEDICTION which in both Latin and English means an act of bidding farewell. Now i do hope that this doesn’t refer to the end of the band itself as few bands have so successfully conquered the nasty world of tech death so gracefully and sustained itself for so long. Having always been masters of sonic manipulation, freeform fusion and a knack for inserting a strong emotional connection to what should seemingly come off as nothing but frenzied noise, OBSCURA has entered the area of intermediacy where technical death metal complexities have aligned with the more melodic sensibilities of power metal, thrash metal and melo-death only without compromising any of the virtuosic attributes that make OBSCURA so ferociously appealing.

A VALEDICTION features eleven tracks and showcases a new direction that takes a side step from the progressive headiness of the past and takes on a somewhat more accessible approach of adding just enough melodic immediacy to the mix. The result is one that takes OBSCURA more into the world of Necrophagist, Gorod, Archspire and First Fragment which as signifies a plentitude of creative dynamic shifts. In the case of OBSCURA there has always been such diversity and A VALEDICTION is no exception to this rule. There are still remnants of the moody acoustic intros as heard on the opening track “Forsaken” as well as a nice balance between the slower passages and the thunderous raucousness of the blastbeat driven metallic fury however this time around the OBSCURA experience is less about progressive meanderings that take you on a wild and unforeseen journey and instead focus on the neoclassical leanings to un fold the song structures albeit with all the deathened brutality that has never ceased.

Given the virtuosic prowess of all the members featured on A VALEDICTION, the fertile crossroads of technical wizardry and melodic motifs somehow cross-pollinate into a perfect paradise of instrumental interplay. Without the more heady progressive drifting, OBSCURA takes on a more direct approach and in the process Kummerer’s vocal style sounds to me more like the melo-death angstiness of Children of Bodom’s Alexi Laiho as the music sort of has that power metal meets tech death approach in a similar albeit more complex way. Despite this slight detour into the world of more melodic extreme metal, the musical rampages on like any OBSCURA fan could hope for. Slinky fretless bass grooves working in tandem with dueling guitar majesty and percussive bombast and a guarantee that Diepold certainly qualifies as one of metal’s most promising newbies on the block.

It’s always a stomach turner when one hears a near and dear talent like OBSCURA has drifted to the melodic side of the death metal equation since it has been the alienating surreal effects of atonalities and other unconventional methodologies that have made OBSCURA stand out in the first place but despite such concerns, it is a relief that Kummerer has triumphed once again in reinventing his baby by steering it only subtly in various directions without losing the underlying attributes that make OBSCURA what has always been. Very few can master these tightrope acts between unbridled experiments, beastly brutality and melodic masterful connectability in their music but it has been demonstrated on A VALEDICTION that OBSCURA is by no means in any danger of going the way of the dodo. In fact it seems like they only get better as time goes on.

UMUR "Diluvium" is the 5th full-length studio album by German death metal act Obscura. The album was released through Relapse Records in July 2018. It´s the successor to "Akróasis" from 2016 and features the exact same quartet lineup who recorded the predecessor.

The material on "Diluvium" continue the technical/progressive death metal style of "Akróasis (2016)" and it´s the sound of Obscura as they´ve sounded on the last couple of releases. Busy and high energy technical death metal with progressive ideas and strong jazz/fusion leanings. High in the mix fretless bass playing, high speed precision drumming, and powerful sharp death/thrash riffs and blistering lead guitar work. "Diluvium" is a very melodic release, but on the other hand it´s also nicely aggressive and brutal when that is called for. The vocals are predominantly snarling and aggressive growling, but there are some robotic clean vocals featured throughout the album too.

While the musical foundation of the tracks are similar or in other words the tracks are coherent in style, there is still good variation between tracks and within tracks. Tempo changes/time signature changes, different riff styles, varied lead guitar work, and loads of different rhythm patterns. There is generally a very good balance between the elements which make up the tracks, and Obscura are also successful at striking a balance between challenging playing/adventurous song structures and catchy moments/accessibility. So while this is not easy music to listen to, it´s not technical for the sake of it. The technical playing is a means to an end, and the songwriting is in focus in terms of creating something that the listener can relate to and instantly enjoy.

"Diluvium" features a clear, detailed, and powerful sounding production, which suits the material perfectly. Every detail is audible in the mix, and that´s what busy layered music like this requires. So upon conclusion "Diluvium" is yet another high quality release from Obscura. A 4 - 4.5 star (85%) rating is deserved.

Kev Rowland According to MMA, Obscura are a Technical Death Metal Band, while according to PA they are Tech/Extreme Prog Metal, and needless to say the truth probably falls somewhere between the two. I can understand why they are classified as Tech Death as that is definitely the majority of their sound, but they are also bringing in many other elements, although whether I would classify it as progressive is another matter altogether. I know that there are many people out there who feel that Obscura are one of the most important bands around, but I’m definitely not in that camp. I recognise that Linus Klausenitzer is an amazing bassist, and his use of a fretless in this style of music should be admired, but to my ears it just doesn’t work. It has also been mixed in a way that is often above the twin guitars, and it all becomes quite disconcerting. The guitars are being rough, ferocious and incredibly staccato with lots of palm muting, and then there is a warm fat fretless which provides a totally different sound and feel. When the band slows down then of course it makes sense, but with their style of attack I would much prefer a fretted bass with a pick, to drive that hard edge.

Consequently I find myself becoming incredibly distracted, and instead of admiring what is undoubtedly a masterclass in musicianship, I find it grating. Of course, that means that I soon have issues with the rest of the album, with the touches, nuances and sojourns into different styles becoming something of distraction. I soon started wishing that the guys had just kept it simpler in some ways, got solidly behind, and put all of their energies into that. This isn’t a poor album, far from it, but it is not for me.