Nevermore - The Obsidian Conspiracy

There was an air of hesitance and some trepidation amongst Nevermore fans when it was announced that Soilwork’s Peter Wichers would produce new record, The Obsidian Conspiracy. Not that it was a slight on Wichers’ abilities, he more than knew the band, having lent partial guitar and bass duties to singer Warrel Dane’s 2008 solo album Praises To The War Machine. That record was absolutely astonishing by the way, veering away from the day job (as any side project should do). It tinkered with a more alt. metal vibe and with that, it was feared that The Obsidian Conspiracy may become diluted in the trades between band and producer.

However, fear not. Nevermore have always been a no-nonsense, “proper” metal band, replete with soaring, untouchable vocals and crushingly technical but still tasteful musicianship. But while those elements have remained a constant, they’re ever evolving and The Obsidian Conspiracy sees the next step in that evolution.

If you will, metal is in many regards a genre strongly synonymous with ideas of natural selection. Trends will come and go but those with the strongest convictions and deepest burning fires in their hearts will be the ones scratching and crawling from the wreckage. Particularly since 2000’s near faultless opus Dead Heart, In A Dead World, Nevermore have proven to be one such beast. But ten years on and despite some magnificent records in Dead Heart…’s wake Nevermore must, again, ruthlessly grab us all by our throats and demand our attention and adulation – it’s rightly deserved, frankly.

The urgency of opening tracks 'The Termination Proclamation' and 'Your Poison Throne' sets the tone of sated, lavish musicality and meticulous opulence which is unravelled through the entire record.

Over the last ten years in particular, the mainstay thrash influences have gradually melded with progressive realms throughout Nevermore’s lush aural tapestry. The expressive 'Emptiness Unobstructed' is easily digestible and marks somewhat of a foray into cleaner, more accessible pastures. Meanwhile, 'And The Maiden Spoke' and 'The Blue Marble And The New Soul' presents some poignancy in their downcast passages and choruses.

Wichers’ work here passes without error. The Obsidian Conspiracy’s production is crystalline and spacious but never once detracts from the ominous sounds of Dane’s vocals or the lead guitar work of Loomis. Yet the execution remains as thriving and verdant as ever.

'Without Morals' and 'She Comes In Colors' both have that trademark Jeff Loomis guitar work in the speed and intense widdling of the former and gorgeous sprawling leads on the latter. But it’s the title track which brings the record to a stunningly heavy close with all elements, it would seem, intensified for one last foray.

8/10