Colosso - Obnoxious - (8.5/10)
Published on July 31, 2016
Genre:Progressive Death / Technical Death
Portugal’s Colosso are one of those hidden gems that you’d like to share with the world, support their name and music and cause until they’re making magazine covers and touring across the Atlantic. But, if you’re being honest, they’re also a band you’d much prefer to hide away and keep for yourself. After the release of their 2012 debut full-length, Abrasive Peace, and its tandem instrumental release of Peaceful Abrasiveness, the Max Tomé-led quintet dropped a pair of intense EPs in 2013’s Thallium and the following year’s Foregone Semblances, assuring their ever-growing fan base that something wicked, and Obnoxious, this way most certainly comes.
Colosso continue to perform progressive death metal with a dense and mechanical approach. The music bears a certain sci-fi sheen that’s at once artificial and furiously sentient, with the group casting a dystopian, burnt sky atmosphere to harshen their barrage of pummeling riffs and blasting drums. Engine-driven and merciless, the band’s blend of the hypnotic and motorized results in something that routinely sounds like some damnable fusion of Gojira, Gorguts, and Decapitated, and, as such, huge, jagged rhythms and eerie, otherworldly guitar lines dominate the majority of Obnoxious.
Gears switch with the ambient, slow-grooving “Seven Space Collisions” and the heaving, brooding remix of opener “In Memoriam” by ‘brutality producer’ Neutropics, and while their presence is certainly an enjoyable respite, the real draw of Obnoxious lies in searing death metal tornadoes like “Of Hollow Judgements,” “To Purify,” and the album highlight “Soaring Waters.” Synonymy rears its head on occasion, but the intense song-writing, alien soundscapes, and collectively ferocious performances—most notably Marcelo Aires’s terrific drumming and the ever-improving vocal work of Tomé—ensure this as Colosso’s best and heaviest record to date.