Review Summary: Sit back and woah…
Atlanta’s Tómarúm will understandably fall into the same niche categories that encompass the likes of Ne Obliviscaris or Wilderun given their debut largely sweeps the same grander scales to which those two acts mention often ascend to. It’s a given that these large sprawling compositions that shape shift, progressing in equal parts atmosphere and technicality would garner a comparative point with some of the best in the business.
Beyond Obsidian Euphoria, the group’s sophomoric piece continues to lift on the potential of
Ash in Realms of Stone Icons by continuing to smash an aural canvas with some of the year’s more interesting progressive metal climes.
That’s not to say that
Beyond Obsidian Euphoria is front to back blast beats and growls. There’s a diversity here, mostly unmatched except by the acts that enjoy sitting on their fold-up picnic chairs atop mountain peaks. “In Search of the Triumph Beyond... (Obsidian Overture)” dazzles into existence awash with atmospheric riffing and sweeping harmonies—but it’s the triple threat vocal styles that throw left and right curve balls into the mix. Shrieking screams offset deep growls all before crooning cleans balance out the sheer walls of metal dichotomy. “Introspection III” ebbs and grows, a celebration of clean tones and pensive, introspective melodies float into sensual guitar leads. Tómarúm is keenly aware that this hour and nine-minute chapter is going to need room to breathe, to develop and
sink in. Even the Opeth-ian introduction of “Shallow Ecstasy” doesn’t overdo its feverish escape from the clear tranquility before it. As
Beyond Obsidian Euphoria continues, its grasp on death metal increases. “Shed This Erroneous Skin” is notably more technical, progressively more dissonant but doesn’t lose the band’s intrinsic progressive style. Blackened vocal barks punch over the riffs and blasting snare hits—save for the always
essential guitar solos. Tómarúm ensures musical continuity, without compromising the sheer death meets blackened aesthetic of their progressive compositions.
“Blood Mirage” is fantastic. With so much emphasis on the album’s longer compositions, it’s easy to overlook the sheer magnitude of a shorter dose of great songwriting. Stylistically speaking, “Blood Mirage” is the most “death metal” orientated slab of music here, but in its brevity, the riffs hit harder,
feel more and punch out a more memorable run-time without exceeding four minutes.
With that said, one could be forgiven for glossing over
Beyond Obsidian Euphoria’s final thirty minutes. “Silver, Ashen Tears” placates many of the record’s finer moments, but not without rehashing on the keener moments found within the album’s first half. Is there anything wrong with these songs? Fu
ck no! The longer track times also don’t really affect
how “The Final Pursuit of Light” or “Becoming the Stone Icon (Obsidian Reprise)” are perceived but listener fatigue could have been reduced should these longer tracks been broken up or rearranged around the rest of
Beyond Obsidian Euphoria. Largely, there’s simply too much to be digested here in one moderate sitting. This is as much a virtuosic guitar-centric album as it is a masterclass in progressive drumming. Somehow that still sells this record short in regard to the vocals, bass work and all-encompassing atmospheres.
Beyond Obsidian Euphoria is one hell of an album and worthy of many repeat listens. Its appreciation is further bolstered by finding nuance in the longer tracks and appreciating what Tómarúm can do in shorter bursts.
