Album Review: The Obsessed, Gilded Sorrow
Posted in Reviews on February 20th, 2024 by JJ Koczan
The Obsessed stand tall as the longest tenured band led by guitarist and vocalist Scott “Wino” Weinrich, and with Gilded Sorrow — their fifth full-length since 1990, first in seven years, first for Ripple Music, and first as a four-piece — they envision an update of a sound that can only be considered classic. Weinrich, who first brought The Obsessed back to appear at Roadburn 2012 (review here) after fronting a Saint Vitus reunion there in 2009. The path even just across the last 12 years has been winding, never mind that The Obsessed have been active intermittently since circa 1979 as Weinrich has evolved other projects and collaborations like Shine/Spirit Caravan, The Hidden Hand, Premonition 13, Shrinebuilder, Probot, and established himself as a solo performer. Weaving through an initial incarnation as Spirit Caravan, The Obsessed came into focus again in 2016, just in time to play Maryland Doom Fest, with drummer Brian Costantino holding position as one band rebranded as the other and The Obsessed set forth on a years-long course of touring around their comeback LP, Sacred (review here), issued by Relapse some 23 years after 1994’s The Church Within, which for a long time was their swansong.
It is in part with the memory of that, thinking of The Obsessed as a band who were gone, that Gilded Sorrow comes across as so vital. While it’s fair to say their sound has always been straightforward, punch-you-in-the-face, on-groove, riff-driven heavy, that pioneering doom rock feels fresh through its nine songs and 36 minutes, with Weinrich‘s riffing and soloing complemented by the guitar of Jason Taylor (Sierra), who joined in 2022 along with bassist Chris Angleberger — more trivia than anything, but Costantino joins Greg Rogers as the only drummer to feature on successive The Obsessed records — such that as the howling echoes of tone give over to the chugging riff of “Daughter of an Echo” that begins the record in earnest, there’s already a depth of atmosphere that is new to the band. In addition to this semi-revamped dynamic — if you’ve never seen him on stage, Taylor is no minor player, and the work he does here feels more substantial than a phrase like ‘second guitar’ or ‘rhythm guitar’ can really convey; his sound is part of the personality of these songs — “Daughter of an Echo” rolls with a rhythmic tension in its snare pops and twisting nod that emphasizes the seething sensibility that’s always been at the band’s core. That’s evident in a particularly up-front vocal from Weinrich as well, with the production of Frank Marchand capturing performances that feel raw and vital but want nothing for clarity.
“Daughter of an Echo” does crucial work in laying out the course of Gilded Sorrow, but it doesn’t necessarily encapsulate the entire album. “It’s Not OK,” which follows directly, does not shy away from physical threat in lyrics that make a hook of the chorus, “It’s not okay/To rip me off/Got your hand in my pocket on the sly/It’s not okay to say that you forgot/Stick a needle in your eye,” reserving the second verse for railing against journalists, “afraid to look me in the eye,” who nonetheless criticize Weinrich‘s outspoken political views; the line “you fucked up” is layered to underline the point. That initial salvo rounds out with uptempo redirect “Realize a Dream,” which offers due push, vocal reach, and a vibe in its open verse that touches on some of what was in Spirit Caravan‘s jug before “Gilded Sorrow” arrives to cap side A with a shift in focus toward atmosphere, a stately tempo and a structural course that feels purposeful in its contrast with its surroundings and justifies itself as the title-track in offering a new take on The Obsessed‘s genre-setting downer march. An effects treatment on Weinrich‘s voice gives a watery presence adjacent to psych but not really tipped over into it in the first half, while the last two minutes of the total 5:34 are dedicated to a slow, ambient instrumental devolution kept active around rumble, feedback, and distant shred, by Costantino‘s punctuating drums as it builds back in volume and foreboding one last time.
Positioned at the outset of side B, “Stoned Back to the Bomb Age” is the actual centerpiece, with an antiwar standpoint framed through governmental exploitation (fair enough) and a roll that meets “Gilded Sorrow” head on, leaving it to the first 36 seconds of “Wellspring/Dark Sunshine,” which follows, to reset the ambience before a snap of snare brings hard reality manifest in heavy riffs. Less verse/chorus than “It’s Not OK” or “Realize a Dream,” with bluesy swagger in its leads and a steamroller of churn that seems to want more volume no matter how much it’s given, “Wellspring/Dark Sunshine” supports the mood of the title-track without necessarily repeating it, pulling in a different direction than “Stoned Back to the Bomb Age” but not so much a contrast as to feel out of place. The subsequent “Jailene” tells a story of drugs, loss and, yes, imprisonment, with the speediest shove since “Realize a Dream,” and perhaps casts addiction as its titular character, feeling more tongue-in-cheek than melancholy or angry. In the end, “Jailene” rips him off, which the album already noted is not okay, but a Thin Lizzy-style verse seems to make everything alright in the end.
Longtime followers might recall “Yen Sleep” as the opener of the 1999 demos/rare tracks compilation Incarnate. Included here on side B before the outro “Lucky Free Nice Machine” wraps Gilded Sorrow with a last 60 seconds of lead-topped nod and march, it is a standout for its older-school crunch and solos that speak to the Lunar Womb era. I won’t claim to know what motivated the band to put “Yen Sleep” on Gilded Sorrow, but it’s a convenient reminder of where The Obsessed come from in terms of doom — i.e., the heart of it — and stripped down in a manner that “Gilded Sorrow,” “Wellspring/Dark Sunshine,” or even its own quick intro aren’t and show no sign of wanting to be. The Obsessed aren’t forgetting their past, but they’re not trying to relive it either, and that combined intent results in a sound that’s full, modern and dense when called for by the material, but able to convey spaciousness around that in new ways. As a generalization, some of it builds on places Sacred went, but with more years of touring ahead of its arrival and the solidification of the current lineup, Gilded Sorrow is a stronger statement of who The Obsessed are than the return-LP inherently could’ve been.
That is to say, if Sacred said The Obsessed were back, Gilded Sorrow is an expansion of who they are as a part of that. It admirably incorporates new ideas into the band’s signature approach and adds to one of American doom’s most essential legacies while refusing to compromise either in sound or the stands its takes lyrically in “It’s Not OK,” “Stoned Back to the Bomb Age,” and so on. I don’t agree with much of the album’s politics, though let’s-have-less-war is a decent common ground to start from, and in the spirit of the album itself I won’t shy away from mentioning it. If that kind of thing is a sticking point for you as a listener — the use of “snowflake” in “It’s Not OK,” or “young AI robots” in “Stoned Back to the Bomb Age,” etc. — then it matters. If not, it doesn’t. In either case, it’s a confrontationalism that’s part of who The Obsessed are at this stage in their career, and it’s been a part of Weinrich‘s persona for decades. What ultimately defines the record is the energy with which its songs, fast or slow, are wrought, and the clever and considered ways The Obsessed build on their history and recast their dynamic with an obvious goal to keep moving forward. If it even needs to be said, Gilded Sorrow is unquestionably among the most essential doom releases 2024 will bring.
