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Arguably Pennsylvania’s metallic best-kept secret, Crobot has been hammering throughout the panorama of soiled arduous rock, sprinkled with groove-heavy riffs and psychedelic undertones for fairly just a few years now – 13 to be actual. Their music harks again to the period when rock, from the early ’70s to the ’90s, was a industrial power that might rival the dominant pop tendencies of the time, usually flirting at instances with a extra metallic favor.
Nonetheless, of their 5th studio album Obsidian, these tendencies grow to be a lot bolder and predominant, blurring the traces between their fuzz-driven trademark sound and high-octane metallic, courtesy of the crunchy and doom-laden guitarwork and the extraordinary and dynamic crooning of frontman Brandon Yeagley.
Obsidian strikes a compelling stability between depth and accessibility, delivering its commanding message throughout 11 tight, punchy tracks, with a number of of them sporting a grunge-infused vibe in the most effective vein of Alice In Chains or Soundgarden‘s most metallic choices, with out shedding their very own id.
From the opening salvo, the explosive title monitor “Obsidian,” Crobot wastes no time in laying down heavy grooves, however the goal right here isn’t just about packing a punch but additionally about crafting a wealthy, immersive environment that hat pulls the listener into their sonic universe. There’s extra to the album than sheer power: the stoner-rock-loaded manufacturing, the unpredictable keyboard gildings, and Yeagley‘s flamboyant wails all work in unison to conjure an virtually space-opera vibe exuding a playful mystique.
It is arduous to select a favourite lower, as Obsidian flows seamlessly, interchanging its musical panorama with the identical precision because the ache strokes of a seasoned painter, which could really feel erratic but are fully purposeful. Sludgy and heavy moments, just like the Black Sabbath-tinged min-epic “Come Down,” – the place the band sounds extra menacing and darker than ever earlier than – are interspersed with guitar-driven, groove-heavy anthems like “Disappear” and the High On Fire-inspired “Historic Druid Crowd.”
Pummeling fast-paced juggernauts like “Nothing” and “Steel” harken again to their most acquainted sound, accentuating earworm choruses courtesy of Yeagley almost-theatrical vocals as he wails “I’m metallic, using by means of the evening with the satan, signed a contract in blood to stay perpetually, I’m METAL!”… it hardly will get extra self-explanatory.
A few standout moments come from the hand of “Head Of The Beast”, a lower that dives headfirst into full-blown metallic territory with aplomb and certainty, channeling the eerie, doom-loaded aura of Black Sabbath‘s early albums – albeit with a way more fashionable sound – and the slower-paced bluesy “The Flood”, which at instances exudes Electric Wizard influences.
All through all of it, Yeagley‘s vibrant vocal vary is entrance and middle, although Bishop‘s distinctive riffs and scorching solos, and the thunderous rhythm part — anchored by drummer Dan Ryan and bassist Pat Seals — are equally important in crafting the album’s towering sound.
Crobot has all the time operated on a distinct wavelength from their friends, unafraid to push boundaries, and Obsidian is an album that might simply win over even essentially the most die-hard heavy metallic purists. “Obsidian is sort of a rebirth of our profession,” Yeagley said, however I would go so far as to say that it feels extra like their most interesting hour, reaching the heights they’ve been aiming for in the course of the previous decade. The sheer energy and power of Bishop‘s blistering guitar work, mixed with Yeagley‘s intricate vocals and the album’s otherworldly and adventurous storytelling, locations Obsidian firmly among the many greatest releases of 2024.
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