This is the latest EP from US black metal band Obsidian Tongue.
I’ve never properly reviewed anything by Obsidian Tongue, although I did love 2020’s Volume III and included it here. My very brief overview of “Highly accomplished atmospheric black metal with a voice of its own.” still applies, and The Stone Heart is definitely one to check out if you’re a fan of bands such as Agalloch, Wolves in the Throne Room, Wilt, Alda, etc.
Containing a member of Falls of Rauros, Obsidian Tongue play expansive, heartfelt atmospheric black metal. With a duration of 20 minutes that’s spread over three tracks, The Stone Heart is a great introduction to Obsidian Tongue’s world if you haven’t encountered them before. It’s also their first release to feature a bass guitar.
Opening with the EP’s title track, this song features guest clean singing from Tanner Anderson, (Majesties/Obsequiae). The first couple of minutes consists of these emotive vocals atop a layered clean musical section that puts me in mind of something Wayfarer or Panopticon might do, only with that certain Obsidian Tongue spark. This progresses into a blackened assault that’s both blisteringly intense and remarkably atmospheric. It’s a potent display of mood-focused aggression, and the song reminds me of just why I rate Obsidian Tongue so highly. The atmosphere and impact only deepens as it develops, adopting an epic mien that borders on a form of blackgaze almost.
Following this comes Winter Child, which is the longest cut here and showcases Obsidian Tongue’s sonic mastery in no uncertain terms. For the first four minutes or so Winter Child takes a slow, doomy, mournful approach, with layered vocals both clean and harsh. The music ranges between progressive and psychedelic influences. Both of these are subservient to the overall atmospheric ones, which provide the listener with an immersive world to explore. At roughly the four-minute mark the band’s fury is truly unleashed, although, as with the previous song, this hostility is tempered by an atmospheric angle that’s woven throughout the tapestry of violence that’s unleashed. After this, out come the meaty riffs, blending the first and second parts into a whole that takes advantage of both mood and aggression. The song is affecting and emotive, conjuring up an absorbing soundscape of textured blackened feeling. It’s an interesting and well-composed song that is worth the admission fee alone.
The closing track – Bear at the Tree of Light – is an instrumental, and is a rhythmic piece of blackened worldbuilding. Streaked with subtle melodies, punctuated by intricate introspection, and carrying an energy that’s considered and well-deployed, this is a compelling end to a brief, but rewarding journey.
The return of Obsidian Tongue is very welcome, and The Stone Heart is an extremely strong release. Apparently there’s more to come, so I can’t wait to hear what else the band have been up to since Volume III.
Essential listening.
Wonderbox Metal 