Obscura changes shape again.
Still led by guitarist/vocalist Steffen Kummerer (Thulcandra, ex-Death DTA, ex-Cynic live), the band is joined by Robin Zielhorst (bass, Crown Compass, ex-Cynic), James Stewart (drums, Berzerker Legion, Decapitated, ex-Vader) and Kevin Olasz (guitar, Deadborn, ex-Maladie) to unveil A Sonication, their seventh album.
The album kicks into high gear with Silver Linings and its furious harmonics, which join equally aggressive vocal parts. The track is the epitome of violence on the verses, but also of beauty on the melodious choruses and lead parts, but the atmosphere calms down on the final which leads into the ominous Evenfall. The bass sound is quite dark, and it tints the entire composition, which remains rather slow and even theatrical at times, thanks to a few choirs that soften the darkness, but the band soon returns to ferocity with In Solitude and its jerky rhythm. The lively approach remains in line with what we know about the band, which doesn’t prevent them from offering us complex, heady harmonies like on the short The Prolonging, which pours out all its rage in just over two minutes, putting the musicians’ technical skills to the test. Beyond The Seventh Sun begins with a touch of ethereal sweetness, but despite retaining this ethereal approach, the band slips effortlessly back into aggressive sonorities, making this instrumental composition rich and interesting to listen to, before returning to screams on Stardust, the next track. The heavy and dissonant touch recalls moments of oppression, quickly erased by the more accessible choruses before the finale allows us to breathe before joining the raw patterns of The Sun Eater, where the growl rivals Steffen‘s usual screams. Leads are also much more tortured than usual, but the alternation remains appreciable and finally gives way to A Sonication, the eponymous composition that strings together more than seven minutes of fast riffs, intriguing and technical passages, as well as infernal vociferations and long lead parts that eventually reach silence.
Despite the near-permanent turmoil in the line-up, Obscura manage to deliver an extremely solid album in every respect. A Sonication knows how to be furious or melodious, while remaining extremely polished!
90/100
A few questions to Steffen Kummerer, founding singer/guitarist of Obscura, about the release of the band’s new album, A Sonication. The interview happened at the beginning of January 2025.
Hello and first of all, thank you very much for your time! How could you introduce the band Obscura without using the words “Death Metal”?
Steffen Kummerer (vocals/guitar): Obscura can be described as an open minded Metal band with a demanding approach within technical abilities, lyrical themes and consistent visual and sound aesthetics.
The name Obscura reminds me of Gorguts’ album from 1998, is this where you picked it up? Do you remember why you chose this one, and how do you link it to the music you play now?
Steffen: The same titled album by Canadian act Gorguts has been very unique, and sounded like nothing comparable back then. Also the name has been catchy, universal in many languages and not used by any band at the time. It still represents our aims and vision, good choice, even in hindsight.
The band is about to release its seventh album, A Sonication. How do you feel about it? Do you already have any feedback?
Steffen: The album became a mature record of an established act with edges, authentic performance and a spot on fitting production. The feedback from fans and press alike has been splendid. A major magazine called it “a real Metal album far away from being reduced to only Death Metal“. That was quite flattering, overall we receive great response to the album. I don’t take anything for granted, and see it as a great compliment if people listen to the album carefully, and find it appealing.
How would you sum A Sonication’s identity up in only three words?
Steffen: Melancholic, introverted, authentic.
How did the creation process happen for A Sonication? The band’s lineup was once again reshaped in 2024, so was it easy to create music with a fresh lineup?
Steffen: A Sonication has seen a long process of collecting ideas while being on the road for the previous record. I collected riffs, ideas for lyrics, aesthetics and sounds while travelling. Back home, I started to assemble a pre production and reached out to world-class musicians to participate in the recordings. Working with the guys has been smooth and very positive. We shared the stage at several festivals this summer, and everyone has been in great shape and delivered spot on. Great people, and classy characters.
The band’s sound is of course anchored in Death Metal in a Technical/Progressive way, but how do you create your own touch?
Steffen: Over the years we just found our own signature sound. I doubt there was any turning point, just constant evolution, experience paired up with the joy to combine this particular style with new ideas to keep it fresh, new and joyful. Working in different fields with different approaches and shifting perspective helps to get a rounded circle on the band, sound and aesthetics.
Do you have a favorite song on this album? Or maybe the hardest one to achieve for the album.
Steffen: Stardust and the title track A Sonication have a quite personal touch, a certain vibe I hear and feel what listening to the songs. Stardust might become one of the songs we will play until the end of our days, very unique and appealing to my taste.
Where do you find your inspiration to create music? Is there a concept on the album A Sonication?
Steffen: A Sonication has been the second album out of a trilogy that started in 2021 with the record A Valediction. While the first record contains a bronze art, the second sees a silver finish and the final one a golden touch. A Valediction dealt with farewell in different meanings and directions, while the new record shows a more reflective position. Unfiltered, pure and human within all senses – production, artwork, photos, music and performance. To me an album speaks as a piece of art in its entirety – the big picture in all levels and expressions need to be in balance to become a timeless piece. A Sonication turned out to be very close to this approach, I’m happy how the record turned out.
You collaborated again with renown artist Eliran Kantor for the cover, how is the collaboration with him? Did you give him some guidelines?
Steffen: After we finished a four album concept that took more than 10 years to finish, I was looking for a long time to find the right artist to collaborate with for the next three records. Talking to Eliran felt just natural, and his work speaks for itself. He took the outlines and layouts we always worked with into his own universe, added his thoughts to ideas I delivered, and came up with two splendid artworks. I leave him artistic freedom and have to let go at a certain point. Eliran understands the visuals perfectly, we speak the same language here. He also works in a more edgy and authentic direction that just supports the musical ideas perfectly. It’s a pleasure working with him, his ideas and his input to round out the albums with exceptional wonderful artworks.
Do you think you improved yourself as a musician and songwriter with this new record?
Steffen: To me every record stays on the ground of the previous album and builds up another one. The idea to work song-oriented, then guitar-centred worked out wonderfully. With this overall idea all instruments gained more room to shine, and more options to arrange and work on songwriting. As a producer the idea of a wall of sound was the direction to follow, and with Fredrik Nordström and his experience and guidance, we worked on a great record that sounds unique, that has room to breathe and keeps the human touch I was after. With every album, show or even rehearsal you grow as a musician – since day one. That journey never ends, and I’m looking forward to the next one where more ideas and more different visions may see a place. As a guitarist and vocalist I gained much more confidence with this album. It is not important what other people think if you’re happy with the result.
The band played a whole European tour in the beginning of 2024, then a few festival shows, and now planned a new European Tour for 2025. How do you get prepared for such a run?
Steffen: Obscura has a long history of being an international touring band. I love travelling, performing around the globe and playing live on stage. Aside from rehearsing and preparing the songs, you need to maintain your instruments, gear and work with technicians and a crew in the long run. We have worked for years with the same circle of friends for our tours and shows, so we can focus on performing and enjoying the ride while one country after the other vanishes aside. 2025 might be a year where we play more than 100 gigs again, brilliant, exhausting, excellent.
The band played in France several times since its beginning, do you remember those shows? Do you have a special memory you would like to share with us about playing in France?
Steffen: We played a few of our best and also the worst shows in France over the years. I remember very well the first time we have been guests as part of supporting our debut album Retribution around 15 years ago. Small shows, underground venues, but every single time we felt welcome, no matter if it was a little concert or a big festival. To me hospitality has a bigger value than anything else. You can play the best venue in the country, but if you get treated like a cockroach, you won’t enjoy that concert. On the other hand, if you play the worst Punk Rock cave with barely electricity, but everyone make the best they can, make you feel comfortable and find solutions, this will be a fun evening. If I have to choose between both, I prefer the Punk Rock cave. The worst show I remember was playing Hellfest in 2022. Two of our key crew members got Covid and were not allowed to travel, we had a new lineup and new gear that had been just connected and assembled. Instead of cancelling the show, I decided to soldier through it. We found a last minute FOH to step in, but the task was too big without any preparation. That was a sad day for us on stage, and fans that have been travelling from far away to see the concert. We were forced to stop the show half way through. A very embarrassing day for us and the fans. As cherry on top, we catched Covid and have been severely sick for about 4 weeks straight. Anyhow, there is the golden rule – if you’re not dead, you can perform. I would save the show and soldier through it any time instead of cancelling a concert.
How do you guys get prepared to jump on stage? How do you feel playing live?
Steffen: A mittel warm-up will be needed, especially drummers need to get into shape and get ready before entering the show. On my end, I have a routine to double check and prepare my instruments, gear and settings every time. It takes around 45 minutes and helps to get your mind into the right place, and focus on the concert. It’s less the physical demand, but the mindset that needs to find peace and focus. Being stressed before a concert would end up in making mistakes. Focus is key.
Are there any musicians or artists you would like to collaborate with? Whether it is for one song, or maybe more.
Steffen: There are indeed a few musicians out there I would love to work within a guest appearance of one of the albums. In this case I’m looking for a sound colour or palette no-one of our own band could deliver. On A Valediction, Björn Strid of Soilwork joined for one song as guest singer. Brilliant performance, and a vocal sound of a unique and special shape. A collaboration with Mikael Akerfeldt could be very interesting. His tone and playing on an acoustic guitar has a unique vibe I admire. Of course his abilities as a singer are unquestioned either. It needs the right song, and the right vibe in the first place.
What do you know about the French Metal scene? Are there any bands you know and like?
Steffen: There are many quite avant-garde acts coming from France in the most recent years. From mellow sounds such as Alcest, to undefined audio artist Igorrr, Pertubator to Gojira the bandwidth seems to have no limits. We had the chance to tour with several bands from France over the years and share the stage with, such as Gorod, Xaon, Persefone, although they are from Andorra, Exocrine and during festivals dozens more acts. With several labels like Osmose, Seasons Of Mist and unnumbered festivals driven by fans and enthusiasts, the scene looks high fidelity, alive and strong ever since.
If you had to organize a concert for A Sonication’s release show, which bands would you love to play with? I let you create a poster with Obscura and three other bands! Even unrealistic answers are accepted.
Steffen: Obscura, Necrophagist, Spawn Of Possession, Martyr. Tech Death Paradise.
Last and funny question: which dish would you compare Obscura’s music with?
Steffen: A Quiche – it takes quite some time to make it, the dish combines many different tastes, but people love it, in any form or version.
That was the last question for me, so thank you very much for your time and your music, last words are yours!
Steffen: Thank you for the feature, and interesting questions. Listen to A Sonication and see you in a venue near you!