Warthur With a tight lyrical focus on tripped-out cosmic diatribes about floating around in space and the astral plane being amazed and awed by the raw power of Satan, and a musical style that takes old-school Satyricon-flavoured black metal and adds a range of unusual twists to it (in particular, here Inquisition show a tendency to drift into slow, doomy grooves), Obscure Verses For the Multiverse is a solid black metal album which doesn't really stray from expectations either in terms of black metal as a whole or Inquisition's particular schtick specifically. It does, however, make clever use of what's already been written in there in order to produce a sonic experience which feels familiar enough to recommend to Inquisition fans whilst simultaneously fresh enough not to be a mere exercise in pandering to the crowd's expectations.

The eagle-eyed may note that the artwork for this album isn't by Antichrist Kramer, Inquisition's collaborator for the artwork on previous albums; Kramer, for his part, has posted statements here and there claiming that this is down to new label Season of Mist pushing the band into distancing themselves from their connections to the NSBM scene (which Kramer is a vocal and unapologetic supporter of). My star rating for the album is based on the music alone - for what it's worth, the lyrics are entirely too abstract to really express much of a political ideology - and I leave it to the individual listener to decide whether they want to spend money on the album considering the band's past affiliations (and their present distancing from them).

Conor Fynes 'Obscure Verses for the Omniverse' - Inquisition (8/10)

Since they released the first preview for this album, Inquisition have enjoyed a buzz yet unrivaled by any other black metal act this year. Declarations harking “Obscure Verses for the Omniverse” as the ‘black metal album of the year’ are not uncommon, and I’ve even had one friend go as far as to call them the new kings of black metal. Even if I may not jump on board with the same degree of veneration for the band, their potential claim to the throne is not unthinkable; over the span of six albums, Inquisition have conjured a ruthless astral assault in the name of the Dark One. In many ways, “Obscure Verses for the Omniverse” is a logical next-step for the band, continuously sharpening their skills while remaining everclose to their ideological and stylistic nucleus. Forward-thinking without going so far as to alienate the genre’s origins, Inquisition’s latest is a well-crafted work that reaffirms why the band rank among the most renowned in American black metal.

Inquisition strike a fine balance between the left-field, chaotic black metal of bands like Deathspell Omega, and the familiar Norwegian tradition most echoed here from bands like Immortal and Darkthrone. Similarly to the way Watain attempted to put a new spin on the sound of the Second Wave (albeit unsuccessfully), Inquisition have taken the roots of the genre to their logical end. Unlike most of the more experimental acts in black metal, Inquisition place an emphasis on riffs and focused song structures. Although there are quite plenty of tempo changes and moments of respite on “Obscure Verses for the Omniverse”, the songwriting and arrangements are ultimately driven by a ‘less is more’ doctrine, surprising given the band’s sophistication towards the riffs themselves.

Dagon’s guitarwork is, far and beyond, the strongest element of Inquisition’s sound. It’s pretty rare that a guitarist in black metal really impresses me, but Dagon navigates through some surprisingly inventive riffs here. Blended together with a thick tone that vaguely recalls space rock, Dagon seamlessly meshes melodies, gloomy textures, thrashy aggression and solos together, sometimes all within the same riff. For an album with a notably narrow range stylewise, it’s pleasantly surprising that most of the songs here on memorable on their own. “Force of the Floating Tomb” is a particularly strong track, firmly introducing the album’s approach and bringing an atmospheric hook of its own: Raise the chalice... “Joined By Dark Matter Repelled By Dark Energy” is the most sophisticated piece on the album, drawing moments of calculated madness, chilling ambiance and epic hooks under one banner. The album’s arc finds its climax in “Inversion Of Ethereal White Stars”, a track that brings melody front and centre, at no cost to the music’s atmosphere.

Although “Obscure Verses for the Omniverse” enjoys the rare gift of memorable songwriting, the album suffers from a nagging sense of déjà-vu. Although the songs ultimately end up finding a life of their own through the quality of the riffs, it feels like Inquisition are choosing to use only a handful of fundamental ideas in the music. For instance, there are plenty of riffs here that seem to pluck chord progressions from other songs on the album. The abundant fast-slow songwriting dynamic loses its element of surprise pretty quickly, and Dagon’s distinctive vocal snarl, as always, will likely turn some listeners off for their monotony. Granted, the apparent ‘sameness’ of the album has become less of a problem for me the more I listen to it, but it feels like Inquisition could have benefitted from a slightly wider range on “Obscure Verses”.

It’s the sign of a great album when it continues to grow on the listener. “Obscure Verses for the Omniverse” is one such instance. It’s a strong continuation of the path Inquisition were already on. Even if personal tastes would normally have me looking for a more experimental approach in modern black metal, Inquisition have crafted an impressive work here. Fans of black metal old and new would do well to give it a listen.