obZen by Meshuggah
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Release date : March 2008
Reviewed by Mark Fisher
Background information
Review
Background information
During the last two decades, Meshuggah's unique sound has destroyed the planet. “Controlled insanity” is a description usually applied to the group, and both critics and fans have praised the outfit in acknowledgement of their artistic approach to album artwork, and music. Only a minute number of groups continually amaze fellow musicians, and Meshuggah figure amongst that number. Whether it be the sound of custom built eight string guitars, or tribal percussion work, or the masterful handling of heavier aspects, Meshuggah are genuinely musician's musicians.
In mid November 2007, obZen was announced as the title of Meshuggah's sixth studio full length. In essence, the title obZen is a portmanteau of the words “obscene” and “zen”. The lyrics themselves, and the concept for the album's cover art, were spawned by drummer Tomas Haake. German artist Joachim Luetke was commissioned to realise Haake's concept, and the resulting image depicts a man meditating in the “zen lotus” position, all whilst draped in blood. Apparently, the design forms a metaphor for mankind discovering peace of mind through behaving obscene. Originally, obZen was pencilled for release that November. So that the album's production qualities didn't suffer, a trek planned to coincide with the album's original release date alongside The Dillinger Escape Plan, was scrapped. Compositions, and sampling, were laid down over a six month period at Fear and Loathing Studio in Stockholm, Sweden, and mixing duties were undertaken within the same building. Meanwhile, mastering was handled at the Cutting Room, also located in Stockholm.
At the NRG Studios in North Hollywood, California, a listening party in support of the record was held on January 12th 2008. Numerous Metal luminaries attended, including; producer Roy Z (Halford, Bruce Dickinson, Sebastian Bach), drummer Gene Hoglan (Strapping Young Lad, Testament, Death, Dark Angel), guitarist Christian Olde Wolbers and drummer Raymond Herrera of Fear Factory, vocalist Patrick Lachman (The Mercy Clinic, ex-Damageplan), Nick Menza (ex-Megadeth), Dirk Verbeuren (Soilwork) and Marcos Curiel (P.O.D.), amongst others. On February 5th, new track “Bleed” was available for listening via Meshuggah's official MySpace page, whilst the title cut surfaced upon that very same page one week later. By February 27th, the whole album was available for streaming.
Review
When discussing the likes of Meshuggah, what statements can one really make? Those whose hearing caught 1998's Chaosphere and / or 2002's Nothing will already be familiar with the type of pummeling obZen wields. For those audibly unfamiliar with Meshuggah's material, its best equated to the sensations experienced by those hit by a train whilst strung out. Should your ears pay close attention, they'll note elements of Ministry, King Crimson, mid-nineties Black Metal, Black Sabbath, Primus (nobody could refute the fact that guitarist Fredrik Thordendal learnt a specific part of “Pravus” from Les Claypool), Megadeth and Mental Destruction, though always in modest instances, and always buried deeply within Meshuggah's heavy sound. Heavier than most Metal admirers could believe humanly possible, obZen propels the group's sound towards another level.
More technical than past Meshuggah albums, obZen proves additionally heavier. Furthermore, obZen's time changes are seemingly more comfortable when critiqued against those featured upon 2005's Catch Thirty-Three. Consequently, obZen comprises a fluid record as opposed to a psychedelic fistfight. Within recent years, Meshuggah's musical stylings have unquestionably matured. Assuming a heavy and technical guise has been the sole focus of previous records, though obZen thankfully boasts additional dynamics. It feels as though the tracklisting's specific order was wholly intentional, thus lending obZen an ambience generally associated with full lengths.
Should you take delight in material which dismisses 2008 trends, then obZen's material is mostly phenomenal. From Metal's perspective, both “Combustion” and “Pravus” are easily the record's most impressive cuts. Collectively, the two exhibit wondrous technicality, dynamism and immense heaviness. “Combustion” inaugurates obZen, and immediately presents the following options; to allow the actual beating to continue, or to sprint towards a place of hiding. Heavy from a more traditional standpoint, obZen spirals downward musically whilst Jens Kidman's screaming vocals ascend skyward. Seemingly, these two entities venture towards opposing directions. Despite this, it isn't difficult to imagine yourself situated within a dusty circle pit during a hot summer's day. Tailor cut in support of festival season, Meshuggah's sound will lay waste before an outdoor arena. “This Spiteful Snake” supplies a moment of clarity with which to reattach your skull, and forms obZen's sole respite. Yet again though, madness ensues in the shape of “Pineal Gland Optics”.
obZen wholly fulfils listener's expectations, and provides slightly more in addition. Also, the album's fluidity will likely open larger doors for the group, and Meshuggah won't have to compromise their chosen sound in favour of commercial success. obZen can be considered a musical blueprint for both expansion and exploration as a matter of fact, and that blueprint doesn't have to compromise or alienate. The full length is an essential purchase for those who enjoy technically impressive music, and the same can be said of all Meshuggah albums. Furthermore, Doom Metal admirers who boast an open-minded nature should also possibly investigate obZen.
