Ten years ago this week, Meshuggah released their sixth album Obzen, via Nuclear Blast, and simultaneously re-affirmed their status as one of the greatest bands ever, but also released a work of music that has become a modern masterpiece. After the experimentation of their EP catch-thirty three, Obzen was back to basics, if such a thing exists for this band. On every level, this album trumps nearly every prior notion the band created in terms of capability. From the music, the concept, the incredible artwork, it was inventing a new language musically for us to learn. By returning to their roots slightly, while still carving a path forward creatively, Meshuggah broke through to a global audience, leaving the underground behind forever. 

Real fans knew the power of Meshuggah for years when genre terms were just good old death metal and things like Djent didn’t exist and prog was not bandied about so freely yet. Even tech death in the truest sense of the term didn’t really apply to Meshuggah. Not strictly. Of course, they play incredibly technical to execute, extreme metal. However, what has always set the band apart was the panache and thoughtfulness they put across in the precision of their work. They make music that takes your brain and heart on a journey, and that is the element few other bands that have come along since can match.

Obzen is all at once a beautiful cacophony of grinding riffs, malleable tempos, and sinewy melodies. It is actually one of the most melodic Meshuggah albums in their entire catalog, with downright humble guitar licks and memorable motifs galore. The opening track ‘Combustion’ is a straight call-back to their early years: pure aggression and grit. One of the best opening album tracks of the decade, and it still gives me a tingle when the opening notes hit me. Linchpin and drummer Tomas Haake continued to slay his drum kit on this track and really every song on ‘Obzen’. In a sense he could be considered a “lead-drummer” the way his playing sets him apart from ever other performer in the world. His work is the glue of this and every album they make. ‘Electric Red’ is a more typical track of the bands’ repertoire. A brutal, off-meter buzz-saw of a song that is just unrelenting. ‘Bleed’ was the big single from this album, with its bouncing beat and creative music video. It can be considered the track that got a lot of people into the band, may be responsible for djent coming into being. Usually, this type of hype around a song happens to a band when they change their approach, soften up or write a big hooky chorus. Not Meshuggah. They just did what they do best, and people’s tastes for challenging heavy music finally caught up. To my ears, the main riff of this song is one of the most copied or attempted to be copied in my lifetime.

‘Lethargica’ is another angular riff wielding beast. Of course, no discussion of the band is complete without a mention of the three wise axe-men, guitarists Fredrik Thordendal and Mårten Hagström, with Dick Lövgren on bass, wrestle those chords and parts with such skill. Their imprint is felt throughout the album. Not only that, but there is a chill interlude in ‘Lethargica’ that is amazing, and adds a lot of depth to the album. It’s these little surprises here and there that take this work and this band from merely a great collection of technicians, but great songwriters. My heart hurts for all the kids injuring their fingers with hours of practice. Actually no, it makes me happy and hopeful for the future. A great band is not just great because they aspire to greatness, but because they inspire it as well.

The title track is another incredible masterpiece. Vocalist Jens Kidman’s wailing vocals ride on top of a head-nodding groove that is just trance-inducing. As with from the opening track, the band also brings back in the thrash-tech death riffs that kill you.

The last third of the album has no let up in any way.’The Spiteful Snake’ is not a track I often hear name-dropped, but it is great in every way. Another Haake symphony of percussive poly-rhythms interlocking with the guitars to blast you in the gut. This is a track everyone should revisit on this release. ‘Pineal Gland Optics’ is another grinding track full of groove. ‘Pravus’ is both a blasting, merciless assault on your senses, and a masterclass in dynamics and great songcraft. The furious main riff is a favorite of mine.

Closing track ‘Dancers To A Dischordant System’ is widely loved and often has been in the setlist for the band these ten years gone. The track is just phenomenal: the grandchild of a 1970s prog headspace injected into the brutality of 90s metal but forged in a totally new and unique way. Even Kidman’s vocals are unlike anything he has done before or since. This makes the album great all the way through but finishes with a seriously fine buzz.

Following the release of Obzen, with its great technical merits and it’s graceful execution, earned the band  many accolades from fans worldwide, and the press too. Awards are nice, but the real die-hard fans know when they are asked about the top heavy music releases from that decade, Obzen represents.

KEITH CHACHKES