There are times when I hear about a band, add it to my “to be listened” list, and then accidentally forget about it. This is the case with Italy’s Obsidian Fall, who released their debut album, “Elegy from a Dying World,” back in March. I recently rediscovered it on my list, with a basic note of “melodeath,” and decided to give it a listen. I became more intrigued upon seeing the incredible post apocalyptic cover art. A bit more research revealed that though the album is not truly a concept album, it did draw from the Cormac McCarthy 2006 dystopian novel “The Road” (which was also made into a movie in 2009) for its inspiration.

Shame on me for forgetting about them, as well as assigning them an overly simplistic descriptor. Yes, there is definitely melodeath here, but it is one aspect of the greater musical fabric that comprises Obsidian Fall. This definitely falls into the growing arena of extreme prog, with a heavy dose of hemiola and polyrhythmic technical passages invading crushing riffs and somber melodies, paired with false chord growls and beautiful melodic cleans. Combined with the lyrics and overall inspiration, one could even call this dystopian progressive metal, as the haunting melodies conjure a chthonic world vibe. Lead vocalist Mira is amazing, with a rich tambor that evokes emotion whether she is singing or growling, effortlessly able to pivot from one style to the other. She is joined at times by drummer Alessio, who had me thinking at one point it was Ross Jennings dueling with Mira. Mira is the dominant voice, powerfully accentuating each song and providing the textures that bring them to life. The guitars are amazing, with powerful riffs, killer guitar solos, and fantastical rhythmic passages. The bass is driving and crushing, the drums are simultaneously beastly and deft, and the orchestration and keys add nice atmosphere. Each song paves a unique path built on melancholy and heft, weaving together a progressive experience that seasons well and leaves much to be discovered the more you listen.

This may not be a concept album, but I love how the album is bookended with two short instrumentals that act as foils: “The Invention of Hate” and “The Invention of Love.” The opening track is chaotic and forces you into the dystopian world the band is creating. The last track, at least for me, offers some hope in a grim setting, opting for calm beauty and a more triumphant feel over the storm of the first track. Starkly different, yet they work perfectly as opening and closing tracks.

“Smash the Synergy” is the first full length song on the album, and it is easily one of my favorites. It starts off atmospheric and ethereal, with an almost tribal drumbeat, then gives you gnarly growls and backing soaring cleans over a driving guitar lead before settling into a melodeath groove.The chorus feels powerful and features the drummer temporarily taking thr lead (sounding eerily similar to Ross Jennings) and Mira providing backing harmonies. You get to experience Mira’s vocal versatility firsthand, with great dueling growls and melodic cleans, and I love the guitars and drumming throughout. The lyrics have a story feel to them which adds to the tension, and the ending of the song is just killer.

“Fading Skylines” takes a very polyrhythmic approach, keeping you off balance regularly with its off kilter heft, while also incorporating a lot of dissonance, bringing a feeling of despair reflected in the lyrics. Mira is on full display with a great dueling approach, layered vocals that feel massive, and some incredible anthemic melodies against the melancholy backdrop. Some of the riffs feel downright dirty, and this song is a great example of the music enhancing the story being told.

“The Last Rain on Earth” features a haunting piano melody atop churning guitar riffs. The dichotomy between Mira’s harsh and clean vocals is pronounced and used to great effect, and I love her delivery in the more magnanimous moments. I really enjoy the drumming on this song, quite technical with lots of hidden fills.

“Surviving the Aftermath” in some respects feels like a natural continuation of the previous track, but is beefier, dropping the piano melody for a chunkier guitar-driven rhythm. The guitars get a number of opportunities to show off, with both standalone solos and some great leadwork. Mira’s vocals are emphatic and powerful, and Alessio returns with some great supporting male vocals. You can see the reference to “The Road” with the references to “father and son” as the narrative continues, and the song does a great job adding a fiery hope amidst the despair.

“Ember” starts out the fastest of any song to this point, and though it settles relatively quickly, it sprinkles blazing drumming throughout. The song layers blackened death, melodeath, doom, and thrash grooves across its progressive web, ensnaring your ears with crushing riffs, polyrhythmic guitars and drums, emotive vocals, and an aggressive delivery.

“A Pale Yellow Sun” makes you feel like you are waiting for the sun to rise with its intro, single piano keys ringing in the atmosphere amidst a subdued choir. It enters a progressive guitar-driven journey with complex polyrhythmic sections, somber subdued melodies, dueling vocals that feel massive, and cinematic aura. And wow the ending is so powerful feeling!

“Chased” continues to show the band’s ability to leverage dynamic and tempo shifts to their advantage while creating atmosphere and showcasing their technical prowess and ability to deliver big vocal melodies.

“Interstellar” is the definition of an epic closing song (notwithstanding the outro track). It is more than double the length of any other song, clocking in at just shy of 11 minutes, and the band makes it worth every second. It starts out big, building atmosphere with clever use of orchestration and incredible guitars and drums. Mira’s vocals are used to maximum effect, her versatility on full display with melodies that are memorable and powerful while mixing in just enough aggression. The song takes its time, maximizing each passage and creating cinematic bombast that hits hard. The instruments are fabulous throughout, and I find the song flies by faster than its runtime. It is a great song, putting the finishing touches on an incredible album.

I have been obsessed with this album since I started listening to it, and I am so glad I didn’t lose sight of it. It is a bit unique in a very good way, and it comes highly recommended!

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