Hard pressed for lasting attention, but capable of an enjoyable end-product
The press release states something along the lines that Sanity Obscure is for fans of such bands as Pestilence, Nocturnus, Coroner, Atheist and Death. Naturally comparing a band to such legends of technical and progressive metal are big words - Can the Singaporeans truly deliver what they promise? If they really are what they claim, those names are a good start for sure.
Though the album opens with some almost jazzy vibes via Dreams - Manifestations I, it isn't long before the picture Sanity Obscure are starting to paint takes on the guise of something that could be reminiscent of those foreign soundscapes created by bands such as Nocturnus in the 80s. Throughout Subterranean Constellation there are more and less profound nods to the legends they worship. While the bands mentioned have many things in common, they have an equal or greater amount of aspects that sets them apart, and in that regard it does feel as though Sanity Obscure have bitten off more than they can chew. They aim high and are very ambitious, but it quickly becomes apparent that they are incapable of filling those shoes.
Though the album opens with some almost jazzy vibes via Dreams - Manifestations I, it isn't long before the picture Sanity Obscure are starting to paint takes on the guise of something that could be reminiscent of those foreign soundscapes created by bands such as Nocturnus in the 80s. Throughout Subterranean Constellation there are more and less profound nods to the legends they worship. While the bands mentioned have many things in common, they have an equal or greater amount of aspects that sets them apart, and in that regard it does feel as though Sanity Obscure have bitten off more than they can chew. They aim high and are very ambitious, but it quickly becomes apparent that they are incapable of filling those shoes.
"Sanity Obscure's technically proficient aspects lie most often in complexity for complexity's sake."
Perhaps it is better to see Sanity Obscure's debut album as a separate work, disregarding its influences. The band doesn't seem like they matured quite enough as musicians, songwriters and a band in unison. Though tracks like Rise of the Machines pushes away the doubt for a moment, the overall picture doesn't present itself with the same clarity; Deathly thrash metal riffs aside, Sanity Obscure's technically proficient aspects lie most often in complexity for complexity's sake. The afforementioned track neatly combines elements from international prog currents, but for the most part the remaining compositions seem more like they're commandeering a slew of differing elements rather than combining them in a mix that makes sense.
As insinuated earlier, Sanity Obscure show signs of selfdoubt. Not in the way that they don't convey their compositions with enough force, but in the way that some arrangements seem to meander, idling back and forth between chugging riffs, grandiose melodies and grooving blasts with no real sense of wholesomeness or purpose. Their riffing techniques are relatively technical in their composition and performance, but don't quite help the music progress in the way that it feels like it should.
Though the bass is as insisting as you could want, and the vocals and drums performed with as much fervour, variation and taste as they should, the album never really soars and takes its place among the legends. As a homage it is capable and competent, but as a modern classic, not quite so. As such the Singaporean quartet cannot quite keep their promise. They are reminiscent of the bands in question, but simply cannot compete. On its own, Subterranean Constellation is an alright album, but when posed as an equal to classics it falls flat. Sanity Obscure lacks the traits that makes Atheist or Death unique, but still captures some of the themes adequately. Surely, this debut album is better than most of the raving, incongruent masses of writhing tech-bands out there, contorting their limbs and minds to create the most stupidly out of place musical wiggles possible, but Subterranean Constellation never surpasses moderate enjoyment.
As insinuated earlier, Sanity Obscure show signs of selfdoubt. Not in the way that they don't convey their compositions with enough force, but in the way that some arrangements seem to meander, idling back and forth between chugging riffs, grandiose melodies and grooving blasts with no real sense of wholesomeness or purpose. Their riffing techniques are relatively technical in their composition and performance, but don't quite help the music progress in the way that it feels like it should.
Though the bass is as insisting as you could want, and the vocals and drums performed with as much fervour, variation and taste as they should, the album never really soars and takes its place among the legends. As a homage it is capable and competent, but as a modern classic, not quite so. As such the Singaporean quartet cannot quite keep their promise. They are reminiscent of the bands in question, but simply cannot compete. On its own, Subterranean Constellation is an alright album, but when posed as an equal to classics it falls flat. Sanity Obscure lacks the traits that makes Atheist or Death unique, but still captures some of the themes adequately. Surely, this debut album is better than most of the raving, incongruent masses of writhing tech-bands out there, contorting their limbs and minds to create the most stupidly out of place musical wiggles possible, but Subterranean Constellation never surpasses moderate enjoyment.
6/10
Released in 2012 independently
Links
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Sanity Obscure on BANDCAMP
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