EP review: OBSESA – Let In The Light

OBSESA - Let In The Light

OBSESA [Release date 26.12.20]

Obsesa formed in 2017 in Bury St Edmunds (Vocals/Guitar: Jason Smith, Guitar: Adam Ingram, Bass: Matt Cooper, Drums: Pete Hutchins) have come out swinging and bludgeoning on their debut ep ‘Let In The Light’.

Three tracks that brutally kick 2020 square in the fork! There is nothing subtle here, just an old school sonic assault for those that like their metal doomy, gloomy, dirty and bloody loud.

The first track ‘The Garden of Earthly Delights’ is a suitable grinding growling description of Hieronymus Bosch’s famous triptych oil painting from between 1490 and 1510 which portrays both the paradise of Eden and the hell of the Last Judgement. Jason Smith snarls and growls over descriptions of what this wonderful work of art entails, it is very heavy but the production by Dave Vickers is clean, crisp and not muddled.

‘Wasp Coffin’ arrives in an eerie, other worldly manner with something growling into the night over swirling winds before the riff kicks in and a Hetfield like “Yeeeeeeeeeaaaahhhh” and headbanging ensues. It reminds me of Metallica at their most brutal mixed in with Machine Head and a touch of Down, the riffs are like Tony Iommi on speed with frantic drums from Peter Hutchins, it is his drumming that ushers in track 3 ‘The More You Destroy’. Subtle it is not; the riffing is full tilt with an incredible tight rhythm section, dare I say the delivery is almost punk like. When we get let out of Tier 13 or whatever Covid-19 restriction we are finally released from, expect sore necks and bruised arms in wherever the mosh pit they unleash this fury into.

Journey and Foreigner this is not, it is not going to make you break social distancing by teasing your hair, putting on spandex and cruising the Sunset Strip but what it will do is let you unleash all that pent up frustration and anger! Play it loud, play it proud, 14 minutes 30 seconds of breakneck speed metal and roll-on album no 1. A decent debut indeed. ****1/2

Review by Martin Porter


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