The Raven is Gone opens up the new album by Outlying—Oblivisci—scorching the earth around it with the kind of ruthless savagery that only those who truly understand how weaponized Melodic Death Metal can be.
That first track is not merely an album opener; it is a declaration of kinetic energy and controlled demolition. Outlying understands a fundamental truth that so many of their peers miss: melody is not meant to soften the edges of Death Metal; it is meant to sharpen the fucking axe. It adds a layer of cutting precision to the primal force, transforming brute strength into surgical destruction. And Oblivisci is a flawless demonstration of that principle.
From the jump, the aggression is absolute. The drums are a devastating presence, delivering a constant, high-velocity barrage of controlled blast beats and intricate double-bass work that provides the necessary engine for the mayhem. This isn’t just about speed; it’s about overwhelming force, paced and directed with military discipline.
The guitar work on this album is where the “weaponized” moniker truly comes into play. The riffs are relentless, weaving complex, cutting melodic lines into a structure that remains profoundly heavy. There is a density to the sound—a constant, churning maelstrom—that ensures even the most soaring melodic lead is grounded in a deep, guttural Death Metal fury. The guitar tones are immense and crushing, giving every riff the weight of a granite slab being dropped onto your chest. They utilize the full spectrum of aggression, shifting seamlessly between sharp, high-tempo tremolo attacks and mid-tempo, head-crushing groove sections that force mandatory physical movement.
Oblivisci succeeds because Outlying refuses to let the sonic attack become monotonous. They employ dynamic shifts not as breaks, but as strategic maneuvers. They understand that going hard and fast for is easy; knowing when to momentarily slow the pace to maximize the impact of the next explosion is mastery.
The vocal performance is equally commanding. The tormented cries that erupt from Fred A. Dubeau’s soul are cavernous, emanating from a place of pure malignancy. They act as the anchor for the songs, providing the human (or inhuman) voice that narrates the destruction ot sees all around it. The voice is constantly battling against the overwhelming waves of instrumentation, adding a layer of desperate tension that ensures the listener remains focused on the message being delivered through the carnage.
Crucially, the proficiency of Outlying is never used as an excuse for self-indulgence. This is highly technical and demanding music, but it always serves the song. The solos are piercing and well-placed, adding necessary melodic flair, but they are concise, furious, and integrated into the overall assault rather than being detached moments of showing off. This album is a testament to composition: every chaotic element is structured, every melodic line is designed to inflict maximum harm, and the entire record maintains a ferocious, forward momentum that never lets up.
Ultimately, Oblivisci is a brutal reminder of the potential of Melodic Death Metal when it rejects the idea of being “soft” or “accessible.” This is a sophisticated, savage record built on precision, kinetic energy, and an unyielding dedication to overwhelming force. It’s an immersive experience that leaves the listener utterly spent but profoundly satisfied. If you crave Death Metal that is intelligent, ruthlessly aggressive, and capable of both scorching the earth and cutting you clean in half, look no further.
Oblivisci by Outlying is available November 21st.
CHOICE CUT: Snow
BLACK METAL ARCHIVES VERDICT: Defined by ruthless savagery, dynamic shifts, and immense kinetic energy, this album weaponizes melody to achieve maximum destructive impact. Uncompromising, intelligent, and absolutely essential carnage.
