OTHISMOS – Subtraction

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7.0

• Bands:
  OTHISMOS
• Duration: 00:26:20
• Available from: 12/16/2024

Streaming not yet available

Hatred, pessimism, rancor, are the founding concepts in the musical discourse of Othismos: the trio had in fact clearly highlighted itself with the first two albums “L'Odio Necessario” (2015) and “Separazione” (2019), retracing the trend of blackened crust/metal with undoubted passion and devotion. Two albums – alongside the split with Nulla + in 2020 – foundational to an identity that is probably difficult to separate from its inspiring gods (Tragedy, From Ashes Rise, Celeste, Rorcal), but sufficiently solid and detailed not to fall into oblivion .
The assault perpetrated in “Sottrazione” supports the visceral negativity that seems to guide the work of the Tuscan musicians, here intent on stripping off the more typically black metal veneer, to engage in grumpy, stinging punk/hardcore invectives: they appear to be swollen by a dark, metallic sound, both dense and stinging, so as to make the overall impact something dark and devastating – a jumble of rattling sounds, devoid of hesitations and pauses, also capable of evoking something grandiose and terrible, biting in an instant and then continuing to tug, tear, destroy.
Compared to previous efforts, the band seems to want to go in even more rapid and urgent ways, merging their animosity with a deep sound design, with a creeping mournfulness emerging as one of the best traits of this “Sottrezione”. A record that is probably 'simple' in its idea and approach, yet marked, especially in the less pressing and more expansive moments, by atmospheric cadences that are not exactly so easy to handle and enhance.
The general atmosphere, veering towards a tumultuous apocalypse, comes close to some very inspired underground creatures on this front of black and very heavy sounds; let's talk about the Coffinworms of “IV.I.VIII” or the Wolvhammers of “The Obsidian Planes”. In those cases the most extreme sludge and post-metal reigned supreme, while in the case of Othismos the times are more stringent, but we perceive a contiguity in the sensations evoked.
Finally, Filippo Masina's very acidic and flaying voice is the element that makes the whole take a more nervous and destabilizing turn, sprinkling an otherwise more rigorous and squared music with wild chaos.
The band is also appreciated for a better use of the melody, a means to sharpen the feeling of desolation permeating all the tracks: in some it is more in the background, in others, as in “The Mirror”, it takes more attention and gives a characterization more evident to the composition. If the primary idea remains that of destroying everything around you – as effectively reiterated in the bloody “Pars Destruens” – there are slowings and broadenings of the sound that take away the pressure and broaden the expressive possibilities of the group.
Despite the overall effectiveness of “Sottrazione”, we are left with the impression that we could go further, have more structured songs with an even richer atmospheric apparatus, which could allow us to get further closer to some of the most influential formations for Othismos .
In any case, pounding and feral songs like “They Declared War On Us” don't write themselves, perhaps giving two inputs to some low-cost artificial intelligence: “Sattration” is solid proof, of sure reliability and enjoyment for those who love forms of metallic crust that is very, very, very blackened.