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ObZen

Rate It! Avg: 4.5 (9 ratings)

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ObZen album cover
01
Combustion
4:08  
02
Electric Red
5:51  
03
Bleed
7:22  
04
Lethargica
5:47  
05
ObZen
4:24  
06
This Spiteful Snake
4:52  
07
Pineal Gland Optics
5:12  
08
Pravus
5:10  
09
Dancers To A Discordant System
9:36  
Album Information

Total Tracks: 9   Total Length: 52:22

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Awsome

exponent

Some of the best metal ive found on eMusic in the last year... The more you listen, the better it gets. The sound is "musical" (which is something that cant be said about a lot of metal now). The production is ultra tight (check out the tuned / damped kicks and how they interact with the bass guitars) and the songs have interesting vocal and structure. Download now, you wont regret :)

eMusic Features

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New This Week: Madonna, Mirel Wagner, Billy Hart & More

By J. Edward Keyes, Editor-in-Chief

Madonna decided to wreak a little havoc by releasing her 12th album, MDNA, yesterday instead of today, which caused a host of other acts to do the same thing. To which I say: NICE WORK, SHEEP. We'll forgive you this time. Here's what I found. Tell me what I missed in the comments. Madonna, MDNA: Madonna's 12th album finds her reuniting with producer William Orbit on several tracks, teaming with M.I.A. and Nicki Minaj on another… more »

They Say All Music Guide

On first listen, the sound on Obzen, Meshuggah’s sixth full-length, is startling, not for its trademark rapid-fire key and tempo changes, or for the intricate, insanely knotty riffs that careened over 2002′s Nothing or 2005′s Catch Thirty-Three. Instead, it is the rampaging charge that leads off the set on “Combustion,” a balls-out sprint that recalls the band’s earlier catalog albums like Contradictions Collapse, Destroy Erase Improve, and even Chaosphere. Power, focus and attention to the bone-crushing power are at the center of Obzen. That said, it loses nothing in terms of the band’s keen focus of musical or technical innovation or drummer Tomas Haake’s songwriting. What it does leave behind is some of the mathy quick-change-for-the-sake-of-it annoyances that were more a show-off of athletic prowess than actual compositional tropes. The melodic orchestration of Catch Thirty-Three has all but disappeared, and in its place is a direct, almost machine-like sense of communication. What’s most remarkable is the live drum kit work by Haake. He’s constant and startling — the completely crazy bass pedal work on “Bleed” would leave most drummers in the dust. You have to wonder, since the last album featured so many triggered laptop tooled drums. Again: power, compositional ethics, and musical acumen are all tied to one thing, building a foundation that just gets wider, deeper, and more intense as the album wears on. Check the frenetic slash and burn ethos in “Pineal Gland Optics,” where both guitars stagger their rhythmic attack keeping vocalist Jens Kidman on the money the whole time. It gives way to the unwound pummeling drum and guitar solo riff that introduces “Pravus,” with its sense of taut dynamics, hair-trigger tensions, and an explosiveness that is literally unequaled. This is sheer attack metal, played by a band that has run from simplicity to excess and incorporated them both into a record that is on a level with anything else they’ve done, even if not all the elements marry perfectly yet. Just get it. – Thom Jurek

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