Obiat, Eye Tree Pi: To the Root of Post-Metal and Back Again
Although members hail from areas such as Poland and Hungary, new Small Stone Records signing Obiat base themselves in London where they?ve lived and operated for nearly a decade. With two prior independent records under their belt — 2002?s Accidentally Making Enemies and 2005?s Emotionally Driven Disturbance — the four-piece joins the Small Stone roster heralding the quizzically-titled Eye Tree Pi, which proves to be as deep a foray into post-metal as their new label has yet to make. Fortunately, drummer Neil (no last name given) restrains himself from that insistent and oh-so-telling Isis snare pattern that seems to infect every other record in this genre. For that alone, Obiat were worth signing.
Obiat seem to have sold their souls at the crossroads between YOB, System of a Down and more basic, guitar-driven post-metal. There?s ambience a-plenty, but like in the extended trio of opening tracks, ?Poison Thy Honey,? ?Delights? and ?Serpents? Rights,? most of the atmosphere comes in the form of changing volumes and quiet parts from six-stringer Rafa Reutt and bassist Alex — ?Passive Attack? aside. Vocalist Laz Pallagi follows the songs wherever they lead him, and keeps a clean tone almost entirely throughout, carving another niche for the band since so many of their ilk are fronted by either their guitarists or other screamers. He goes as far in ?AA54089? as to throw in some latter-day Hansi K?rsch sans layering-style acrobatics among his other shouts and wails.
Because of the band?s elemental approach, parts of Eye Tree Pi feel telegraphed, and though Pallagi?s vocals sometimes bring the songs an Eastern European flair (which to my ignorant American ears accounts for the System of a Down comparison above), the semi-spoken word/ambient closer ?House of the Forgotten Sins? still feels anti-climactic after the crunching heaviness that came before it. There is plenty of Eye Tree Pi, however, that blends elements and influences so as to belong entirely to Obiat, and those moments, such as the crashing doom groove and headbang-inducing bridge riff of middle cut ?NoMad NoMind,? are precisely what make the album worth checking out.
As what will doubtless be their biggest record yet, Obiat?s third offering is a respectable showing from an act whose loudness must rattle cartilage live. It?s a change of pace from the usual Small Stone fare, but if these newcomers wind up sticking out from the pack in this tiny scene we all cherish so much, it can only serve them well in both the long and short runs.
Tags: Obiat, Small Stone, UK
