Released: 2012, SoulSeller Records
Reviewer: Metal-Rules.com UK Team
From the land that spawned Asphyx and Pestilence comes "The Obscurity Within...", the debut of one man Death Metal project Entrapment. Michel Jonker is the man behind the band which, as if the band's logo didn't clue you in on that, plays a classic Swedish Death Metal style that's influenced by bands like Dismember, Entombed and Carnage. The record contains 10 tracks of pure Death Metal savagery with a production job by Marc van Duivenvoorde that will remind fans of those Sunlight Studios releases from the 1990's. Some samples are even thrown in, which reminded me of Entombed's "Clandestine" album.
The album begins with a particularly interesting piano-and-violin intro that then leads to the all out attack of "Clandestine Rites", with its fast pummeling beat, tight rhythm sections, Swedish-styled shredding guitars and a punkish, abrasive vocal job that's more akin to a shouted, sore throat, glass gargling vocals variety, instead of low growls. The second track, “Shallow Breath”, begins with a slower Black Sabbath-like riff before going into a faster section when the vocals kick in. The faster sections here and on "Feast of Atonement" the third track, sound like ideas that would have fit in on records like Entombed's "Left Hand Path" or Carnage's "Dark Recollections". The Black Sabbath influence comes back with the middle tracks, especially the opening section of the title track. “Soul Entrapment”, the last track of the album, has a very interesting middle section full of whammy bar abuse and wailing guitars, and some interesting breaks that sound quite dark and haunting.
Overall, the album is a fine collection of songs that, although are not anything new or revolutionary, are definitely good Death Metal sections that evoke the spirit of the Swedish bands of the late 80's/ early 90's. In some aspects, it also contains elements from classic bands like Death, Autopsy and Master, as Entrapment is a very straight-forward band. It must be noted that while can certainly handle fast material, some of the best moments occur when the band deviates into slower sections, or areas where disonance is used to create ambience. The cover art was done by Mattias Frisk, and it definitely fits with the sound aesthetic that the band conjures.
Review by Titus Isaac