Tómarúm – Beyond Obsidian Euphoria (Review)

This is the second album from US black/death metal band Tómarúm.

2022’s Ash in Realms of Stone Icons was a one of the best of the year, so anticipation has been high for the new one from Tómarúm. Will Beyond Obsidian Euphoria‘s 69 minutes have the same impact as its predecessor?

Beyond Obsidian Euphoria is a progressive black/death metal epic. Sitting on the modern end of the extreme metal spectrum, this is a feast of well-structured technicality that has somehow managed to primarily present as a creation of atmosphere and feeling. Tómarúm are a band that use technicality in the service of songs, not the other way around. Having said that, the technicality is much more of a focus across these new songs when compared to Ash in Realms of Stone Icons.

Tómarúm have expanded from their core duo to now include three new members, (including the drummer of Dawn of Ouroboros/Lamentations/Monotheist), and the results speak for themselves, albeit in a slightly different voice this time around.

Overall Beyond Obsidian Euphoria feels less black metal than their debut record, although it’s still certainly a blackened release that has its moments. As the black metal influences have been partially toned down, so correspondingly have the progressive metal and technical death metal ones been partially ratcheted up. The record is not quite as dark or aggressive as its predecessor, and instead has a broader vision that certainly includes dark aggression, but that also has a lighter, brighter, wider scope. In this way, band references such as Opeth, Ihsahn, The Faceless, Ne Obliviscaris, and An Abstract Illusion are increasingly applicable to Beyond Obsidian Euphoria, replacing some, (but not all), of the more blackened ones that the first album might have made you think of.

The music is awash with fine detailing, progressive flourishes, creative aggression, and expressive sounds. Tómarúm have obviously put a lot of time into this record, and it shows. It’s extremely well-crafted and professionally rendered, making for an engaging album with a lot to explore. Honestly, I don’t expect it to have the long-term impact that Ash in Realms of Stone Icons had on me, as the move into more technical/progressive death metal waters is less to my taste than the darker debut was, but it’s still a notable, enjoyable, and rewarding album. Besides, Ash in Realms of Stone Icons was itself a slow-burning record, so I may revise my opinion by the end of the year. We shall see.

Until then, Beyond Obsidian Euphoria is still a great record, and is certainly not lacking in a formidable bite of its own. Tómarúm continue to impress, and this is an album I’ll be continuing to absorb for the rest of the year.

Don’t miss this.