Obsideo

"Obsideo" is the third album since Pestilence returned to the music scene after a long absence. Patrick Mameli and Co. came back with 2009's "Resurrection Macabre", a crushing death metal assault that matched the intensity from the days of "Testimony of the Ancients", although neglected the band's more experimental aspects. Then, in 2011, Pestilence delivered "Doctrine", which went a completely different direction, re-establishing the weird tech death solos and bass lines, highlighted by the return of the master, J.P. Thesseling, on bass. But, not long after the release of "Doctrine", Thesseling left, and I worried that losing a prized, unique feature of the band might dampen my appreciation of their next album. Mameli and longtime guitar partner Patrick Uterwijk always deliver the goods, but I was highly bummed after I heard about the departure of Thesseling. Pestilence seemed to be on a decent roll after "Doctrine", so I really hoped it wouldn't interfere with the momentum the band has built since their comeback. It's 2½ years later, and now we have "Obsideo". This album does a nice job of combining the approaches of the two previous albums into a more realized, consistent batch of songs that offer everything from brutal death metal, spacey tech solos, bizarre guitar synth textures, and bouncy grooves ala "Spheres". My favorite tracks so far are "Transition" and "Laniatus", which would be good reference points for how the overall album sounds, as well as "Displaced". On "Doctrine", some complained about Mameli's odd, higher pitched, frequently cracking vocal style. On "Obsideo", he's reined it back in, and sounds nearly as brutal as on "Resurrection Macabre", although not quite as deep. The new bassist definitely does not have the same presence as J.P., but he contributes a fine performance, with a few nice flourishes here and there. The new drummer can play, peppering the album with tons of double bass, speedy fills, and precision blast beats. I don't hear any filler at all here, just ten dynamic songs in the 3½ minute range that capture those distinctive tones unique to Pestilence. It's a great addition to their discography.

Dig this album! I liked their last album but this one seems more focused. Bass enthusiasts will miss the departure of the old bass player Jean but I think it is the vocal delivery that sets Pestilence apart from many Death Metal bands. I like the delivery as it sounds more primal than many vocalists that use too many effects but still remain monotonous in their delivery. This vocalist has some vitriol in his delivery.

Since Pestilence reformed a few years ago they have continued to evolve into new forms of death metal. Sharp, intelligent and ultimately satisfying. A must for all fans of original death metal.

Great CD from these metal gods as always. These guys don't know how to disappoint their true fans. Great disc...

best album yet

Powerful record from the dutch masters

Fast shipping great merchandise

Let's face it, the last 3 albums will never hold up to the original 4. While new drummer Dave Haley from Psycroptic is totally capable, I don't like how his style fits in with Pestilence. The band has lost its old school vibe, and the songs here all kind of sound the same. I guess the only saving grace here is Patrick must have realized how bad his vocals were on "Resurrection..." because he fixed them on "Doctrine" and the same here.

Pestilence sind einfach schon immer etwas Besonderes im Death Metal gewesen. Das vorliegende Album ist - wie immer bei Pestilence - technisch perfekt und äußerst auf den Punkt gebracht. Es ist ein Genuss zu hören, dass es auch im Death Metal - noch immer - Musiker mit Können und Anspruch gibt, die ihre Instrumente beherrschen, anstatt ideenlos auf ihre Instrumente einzudreschen. Auch der Gesang von Patrick Mameli ist wieder sehr gelungen und unterscheidet sich von infantilem Gegrunze anderer Protagonisten der Szene. Einfach kaufen und immer wieder hören - am besten über gute Kopfhörer!

Great album very pleased with it

Since their return to the fray with 'Resurrection Macabre' in 2009, Pestilence have stayed on the upward curve, delivering albums of quality, precision death-metal. New album 'Obsideo' sees latter-day Pestilence move through the gears as they create the perfect marriage of the brutality of 1989s 'Consuming Impulse', the classy, starry-eyed arrangements of 1991s 'Testimony Of The Ancients' & - to a lesser extent - the far-reaching prog tendencies of 1993s 'Spheres'. Mainman Patrick Mameli and his longtime co-hort Patrick Uterwijk team up for real as their complex guitar riffs intertwine in classic Pestilence tradition, packing the necessary crunch for the gut-level intensity that death-metal demands, while retaining the suppleness of touch that always made Pestilence seem like a cut above the blood'n'guts death-metal crowd as the band sought to breakout of the confines of the genre and explore new territory with each new release. The new rhythm section (Georg Maier-bass & Dave Healy-drums) bring their a-game as they play an invaluable supporting role to the 'two Patrick's' dual attack. The arrangements are powerful yet melodic, as Pestilence conjour a sound and style that fits in perfectly with the band's illustrious history, all the while forging ahead. This is the third album since their return, and all the promise of the the previous two offerings has been fulfilled as Pestilence reach a new peak, making it hard to believe it really has been two decades since their 1989-1993 glory years. Put simply, 'Obsideo' is their strongest album of technical death-metal since the 1991 classic 'Testimony Of The Ancients' making it a must have for death-heads of any persuasion. Try it.

Pestilence zählen nach wie vor zu den innovativsten Bands in Metal.Obwohl sie ihren Stil-eine Symbiose aus ihrem frühen Material und dem progressiveren seit "Spheres"-wohl gefunden haben und nur noch verfeinern.Hier wird jetzt etwas mehr geballert.Ansonsten;brachialer Metal mit Ausflügen in Jazzgefilde,originelle geile Riffs ,Rythmen und Melodien satt.Und Herr Mamelis abartiges Organ.Auch vor kurzem live gesehen;genial.

..und sich nicht schämen muss von 2013 zu sein. 20 Jahre nach dem sehr progressiven Spheres gibt es hier in Perfektion alles was sich bei Spheres unter den Keyboards versteckte... es überrascht wie sehr das luftige aber doch sehr brutale, sadistische Grundgefühl in beiden Kontexten gleichermassen gut funktioniert.