Floridians Obituary are venerable mainstays of the death metal scene, as instrumental to establishing the genre as acts such as Cannibal Corpse, Morbid Angel and Death. Their ninth studio album and first release in half a decade, Inked In Blood sees them staying true to their signature sound whilst still trying to innovate and mix things up.
Opener ‘Centuries Of Lies’ kicks things off by sounding a little too much like a ‘standard’ Obituary track. Of course John Tardy’s retching vocal delivery is still sharp as ever, and Donald Tardy’s rapid, galloping kick drums keep the tempo constant. The signature thick, abrasive guitar tone is there throughout pacey, breakneck riffing, but it feels as if the band haven’t stepped too far outside the comfort zone.
Second track ‘Violent By Nature’ thankfully dispels this notion somewhat. A chugging, deeply groovy riff fades in with a fantastically gritty bass tone from Terry Butler. Tardy’s vocals are at their most maniacal as the tempo changes to a more deliberate, measured state. The main riff is simplistic in a good way, with no needless complications, just the groove. A dexterous, wailing buzzsaw-toned solo caps things off nicely.
Unfortunately, these two songs, one ‘standard’ and one slightly more boundary-pushing are a decent microcosm of the record as a whole. Ratio wise, it leans a little more towards the former. Tracks such as ‘Violence’ and ‘Pain Inside’ are still solid, with punchy tempos and big chords, but they seem a little aimless. The fact that the production is at times inconsistent, with the occasional flat snare or kick drum, too much reverb or noticeably plosive vocals, is not befitting of a band of this status or longevity.
It’s not all bad news. ‘Back On Top’ impressively reworks tempo and dynamics, with a triumphant guitar overlay and cascading drums. ‘Minds Of The World’s urgency and aggression, with rapidly spat vocals and general air of supreme focus bring it into more punk-influenced waters. ‘Deny You’ is arguably the records zenith. A steadily building, changeable landscape sandwiched by squalls of feedback, it’s all snarling vocals and organic progressions of the main, chunky, palm muted riff.
This said, for an album consisting of 12 tracks, when only one third truly stand out, one would be forgiven for being a littler disappointed. True, deviating from a iconic sound after a 20 year plus career would be difficult, nay suicidal for any band, and the album as a whole is solid and not unlistenable, but after a five year absence many would have expected something more.
