[Review] Obsidian Tide – Pillars Of Creation

Obsidian Tide is an Israeli trio formed in 2012 from an idea by guitarist and singer Oz Avneya. The band released an EP in 2015 entitled ‘Debris,’ and on 29 August 2019 the long-awaited debut album was released. “Pillars Of Creation” is available on CD and Digital and has been published for the independent label DistroKid Records. The opener ‘Pillars Of Creation‘ starts with bass and guitar riffs supported by the violin and a melodic voice that is sometimes choral. When the drum enters and the song opens, the rhythms are a succession of technical and fast moments and others that are calmer. The vocal alternates melodic traits with other harsh ones, in the end it closes with a sound similar to the intro. The drum of the previous one leads us to ‘Seven,’ with the harsh voices protagonists of the vocal part. The sound is characterized by harder moments that alternate with softer and Progressive ones. Riffs are powerful and the guitars heavy, the touch of simulated flute good. In closing a final acceleration with double pedal and roll. ‘King Of A New Realm‘ starts with melancholy guitar and violin melodies, the voice gets clean, with slower and more elaborate drum and riffs. The harsh voices are also inserted, and the piece in the middle proposes a good solo guitar, which then leaves the space on the piano. In the end, both a heavy riff and the voice are the track ends. ‘Portent Of Betrayal‘ has a more accelerated pace, the guitar performs sharp riffs, massive bass lines and harsh voices fit. In the middle the song changes with the entry of the clean voice, on the whole a drawn piece but more elaborate than heavy. In the final, a solo of guitar and the song closes with a keyboard in decrease. ‘Hiraeth‘ is a more melodic piece, even if at the beginning, it is aggressive and with a hard singing. The guitar riffs are remarkable, for long stretches the track is softer than the previous ones. In closing, space is given to some bass evolutions accompanied by drums and clean guitars. ‘The Harbinger and the Millennial Vengeance‘ sees participation as a featuring by Mike LePond, with many time changes and a bass who expresses its maximum potential. Aggressive, drawn, but at the same time elaborate, half an acoustic detachment and again. A great solo guitar, the rhythm is characterized by many high-level changes, in closing another duet drum-bass. ‘Magnanimous‘ is the longest track of the album, after a soft and harmonious start, the whole power of the band is unleashed. The singing is clean and the rhythm excellent. The sax enters, and the song rises into another dimension. The piece closes with a hypnotic riff to fade away. This album can be inserted in the Progressive Death Metal genre, but given the different influences contained in this work. I have no doubt that it can be appreciated by a wider audience. The arrangements are remarkable, always elaborate and with great passages from hard moments to clean ones. Approaches to the sounds of the Opeth of the intermediate period, halfway between strong Metal and Progressive. I advise to follow this band carefully, they have talent, and they stand out and they will go a long way.


1. Pillars of Creation (5:58)
2. Seven (6:46)
3. King of a New Realm (8:05)
4. Portent of Betrayal (5:37)
5. Hiraeth (9:45)
6. The Harbinger and the Millennial Vengeance (7:32)
7. Magnanimous (11:18)


Oz Avneya / Guitars and Clean Vocals
Shachar Bieber / Bass and Harsh Vocals
Erez Nadler / Drums, Percussion and Programming

Guest Musicians
Mike LePond / Bass (Track 6)
Omri Abramov / Saxophone (Track 7)
Danielle Sassi / Flute (Tracks 2, 5, 6, 7)
Yuval Gur / Violin (Tracks 1, 3, 5)
Nitzan Habler / Upright Piano (Track 3)

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Author: Jacopo Vigezzi

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