Released: 2012, Century Media
Reviewer: Metal-Rules.com UK Team
Oddland formed in 2003, the Finish quintet have released a brand new album “The treachery of senses” on Century media which is a must for fans of Opeth, Messugah and those that have a patience for modern progressive, Djent, neo classical infused songs. With the Combination of Scandinavian palm muting with tremolo picked triplets the strong stylisation is a key factor in the accessibility and engaging precision.
The album song selection keeps the best slices from the previous demo and enriching them into the expanded LP which is a highly produced cauldron of constructed finery. The finding of stylisation has been solidified with manoeuvrable growing space in which future styles can fit around. The album divulges into as many different tendrils as audibly possible which makes for an exciting and engaging listen.
Straight away the album opens with “Above and beyond” in a cascade of a stylish riff, which bounces straight into the vocal styling’s which have the similarity in tonnes and production to the Scandinavian brothers Opeth and Pain of salvation with addictive cross play of clean vocal works and guitar interlude dripped verses. This strong opener jumps straight in with lyrically honed zest, which is an instant hook to that leads to the progressively passionate route of the track’s overall appeal sounding like a lighter Messugah in places and arpeggio sweep picks pushing through the rich layering which is melodically brutal in construction.
Which is set to be the style of the whole album as we get introduced into “Flooding light” that is track that serves as a purposeful bridge link between the opener into track three “ In the eyes of mourning” which slows things down. The lead in via “flooding light” is a vital doorway that entices the listener to be assertive and openly listen. With track four “aisle of array” you are pushed into listening boundaries with sonic dynamics to which the band are pushing.
“Past the Gates” is a strongly vocally lead again bridge song that contains the robust mix of oxen lyrics and progressive back drop to lie this upon. Works as a heavy formula that leaves the listener wondering where they stand in the maelstrom of textures and diverse constructionist value within the song. “Still the Spirit stays” is slightly harder to get a grasp on at first as it’s technically efficient in all the layers but doesn’t quite synchronise on first listen so takes a second listen to take every detail in.
“In endless endeavour” seems to have a more morose tone than the previous tracks with a peaceful lull of the tracks subject matter, which is under scrutiny behind the harmonized emotionally down tempo piece which doesn’t seem to fit into the rest of album. “Sewers” is a track that caught my immediate attention as the rich mechanical opening that creates a minimalistic percussion heavy light drum fills with siren vocals mixed in with triplets, makes a beautiful Dream Theatre almost sounding track. With the introduction to the more aggressive side to vocal combinations it is a textured dream that sublimely flows into “lines of silver blood” has a slightly longer introduction that previous songs with the bursting of vast layering before calming to which the vocal lines sit among works well for this track. “Ire” is a dark beautiful masterpiece which has sultry symphonic and intensely divine amounts of genius and rounds off the album perfectly with it delightful haunting in places nature that leads to expectation of the next album.
The album itself seems to hold a musical journey that can be taken as segments or as a whole giving greater accessibility than most albums with the doorway of a debut this is beautifully produced and highly prestigious work of sonic art. It is both technically and aesthetically pleasing with the overall sound being a deliciously, heavy and technical album.
Review by Ashlinn Nash