Review by:Michel Renaud of MetalCrypt

Black Metal it reads and that is exactly what it is, anyone for some furious fast riffing and screaming? And how about some blast beats for good measure? Yup, that is what OBITUS provides us with in abundance on this, their second full-length album and incidentally, their first album never saw the light of day, so I guess this is in a way their debut album. OBITUS, who hail from Sweden, consist of two members, Anders Ahlbäck and Johan Huldtgren, who amongst them handle all the song writing and instruments. As with most other types of Metal, the origin of a Black Metal band can sometimes be deduced with fair accuracy by listening to the particular sound and characteristics of their music. (For me at least) OBITUS has that slight metallic edgy sound that I have heard from other Swedish Black Metal bands, while bands from, for example Norway, might have a more murky, brooding sound in the production and the character of the music. The album is split into three parts, Summer, Fall and Winter, and with the tracks flowing seamlessly into one, it alludes to the album being a concept album and should be listened through in one sitting. There is not much more I can say about though, as it is pretty much Black Metal as you would expect it to be, aggressive, fast and relentlessly heavy for the most part, with only a few quieter moments that add a sense of eeriness. The last three tracks are quite lengthy for the genre, but luckily, it does not drag on for too long and successfully avoids the “skip” button. I especially enjoyed the last track, “The Drone Marches On” – towards the middle of the song the vocals are kicked aside for an extensive and epic instrumental passage, which communicates the authority of the album very well. OBITUS were formed seven years before the release of this album, and the quality of the overall production and the performance of the duo bear witness to two experienced musicians who deliver a good album and a convincing performance. “The March Of The Drones” is worth checking out and if you are a label type, OBITUS is definitely worth signing. (Leans back and presses “play”, again)

8.5/10

Review by:Jean-Pierre of Metal Observer

I have a fascination for black metal bands with a more modern image than the "knights in the forest" one. So I checked out Obitus' March of the Drones album, and I was definitely not dissapointed at all! There's loads of atmosphere and many very good riffs etc. with samples and small, calm ambient moments in the songs that all help creating a very solid album. There are actually melodies and stuff here, since the guys can play their instruments, which is quite rare for a black metal band. It reminds me of newer Deathspell Omega, but I wouldn't call it a "ripoff" at all; there's a very personal, unique sound to this band. Strongly recommended!

Review by:We March in Line blog

Was für eine Granate! Dass ich einer gepflegten schwedischen Schlachtplatte nicht abgeneigt bin, ist dem ein oder anderen regelmäßigen Besucher dieser Seiten eventuell schon aufgefallen. Gleichzeitig ist dann vielleicht auch deutlich geworden, dass es reinrassiges Gerödel nur sehr selten gibt. Melo gibt's öfter, auch DM-haltige Gemische immer mal wieder, aber pure Raserei beschränkt sich oft auf Marduk/DF-Nachahmer, die noch langweiliger sind als die ohnehin schon einschläfernden Originale. Das letzte wirklich gute Knäckebrotalbum, das mein persönliches Reinheitsgebot halbwegs erfüllte, muss "Ashcloud" gewesen sein, und das ist ja nun wirklich schon so lange her, dass es gar nicht mehr wahr ist. Und außerdem ist es eine nicht sonderlich hilfreiche Referenz, denn mit Blot Mine haben Obitus wenig bis gar nichts zu tun. Wenn man unbedingt Vergleiche braucht, so findet man einen solchen wohl noch am ehesten in "Impergium". Zumindest peilen Obitus ein ähnliches Zerstörungsniveau an, gehen ähnlich kompromisslos zu Werke. In der Ausführung ist "The March Of The Drones" dann aber ein ziemlich eigenständiges Werk. Schwedische Raserei trifft nämlich auf mechanische Kälte, die dem Ganzen völlig ohne zusätzliche Spielereien einen industriellen Anstrich verleiht. Motor von Obitus' Vernichtungsmaschine ist zweifellos das frenetisch hämmernde Schlagzeug, das wesentlich zum maschinellen Charakter der Musik beiträgt. Zu diesem gesellt sich in den Erbanlagen unverkennbar schwedisches Riffing, nur wirkt das hier ca. 100 Kelvin kälter als die traditionellen Vorbilder. Waning, die in Kürze via Eerie Arts ihr Debüt veröffentlichen werden und deren Besetzung sich mit der von Obitus überschneidet, klingen nicht ganz unähnlich, um mal einen Anhaltspunkt zu geben. Allerdings tönen die (und das ist nicht wertend gemeint) dann doch eher wie eine Popversion von Obitus. Was mich an "The March Of The Drones" immer wieder aufs Neue begeistert, ist der musikalische Exzess. Wenn die Drums erbarmungslos drauflosstürmen und dazu die Leadgitarren schrill explodieren, dann ist das ein ekstatisches Erlebnis. Hört Euch nur mal "The Endless Void" an; wenn ich jemals zu einem Amoklauf aufbrechen sollte (momentan eher unwahrscheinlich), dann wird das mein Soundtrack sein.

9/10

Review by:Erik of Myrrthronth

So, March of the Drones begins. A quiet, tense intro passage.. No build-up… No sign of it ending… Fuck, this intro is long, and I’m getting impatient… Then, finally, Obitus go to war. The bunker roof caves in as Sacrificial Abolishment explodes with thick, fast, rhythmic blasting. Hard, dense and aggressive. This is a band who have not chosen to follow the pack: they whip up a variety of extreme metal styles to fight side-by-side, clad in Black Metal armour. When this album reaches full speed, it’s like riding downhill on a sprinting bison Obitus can evidently deliver fast, technical metal – but they also inject a high dose of hatred into their song-writing. When this album reaches full speed, it’s like riding downhill on a sprinting bison – and there’s plenty of it throughout March of the Drones. Most of the tracks stray into so-called ‘industrial’ territory from time-to-time: sampled spoken passages with ‘ambient’ sounds, or rapid, blastbeat-riff stabs. Fans of Mezzerschmitt or Anaal Nathrakh will enjoy these moments, but BM purists needn’t cringe for too long – these diversions are used with restraint, and it’s never long before Obitus renew their blitz-speed attack. There’s a healthy smattering of slower sections, which chew along with a more controlled anger – but always with the sense that the band is straining at the leash, waiting for the moment to start ripping out your face again. A largely standard Black Metal vocal delivery completes the overall effect, but it seems a little restrained in the overall mix (though I admit I do like the resulting emphasis on the drums, guitar and bass). The songs are both complex in structure and depth. Obitus have put a lot of effort into writing an opus of tracks that flow together to form one, long sustained assault – using every type of musical weaponry the band can muster. This album battled with my tastes in Black Metal from beginning to end. But albums which appeal to me gradually over time like March of the Drones usually become favourites for life. After checking out their MySpace samples, I’m looking forward to being battered and stabbed by their earlier releases too.

Review by:Hellfurnace Metal Zine

In all honesty, it takes something special to draw my attention these days. Something special in this case would be a wet t-shirt contest for example, or perhaps a re-run of the Pingu series. Or, like Obitus did, dubbing your new album "March Of The Drones". Seriously, that's one hell of an album title isn't it? It has a cool ring to it and the image of pounding, throbbing drone beats really wets my panties. But enough tomfoolery, let's cut straight to business. Obitus' debut isn't as great as its title implies and it's certainly not packed with drone. What we're treated to today is your average fix of melodic yet aggressive Black metal. Well, concerning the 'drone' part of the title: they do use ambient parts in the middle of the songs but why they chose to do so is beyond me. They're not scary or frightening and they don't enhance the aggression on the Black metal parts, so really, I'm lost. What remains is a bunch of typically hateful vocals, some melodic riffs which are sometimes a little on the flat side, a little drummer boy who merrily beats the living crap out of his cowhides, a few almost-industrial touches and that's it. You may have guessed by now that I'm not completely enthusiastic about this release. Don't get me wrong, it's not that these guys don't know how to play Black metal to save their lives, but it's just that they are so utterly redundant. Ok, ok, occasionally there's the up-to-par riff and the nice sample, but in the end, you may as well not have listened to this album. What if this band would not exist? Would the world be a better or a worse place? Would we finally be able to reach Mars or acquire the gift/curse of eternal life? No, none of these things. Nothing would change. Did somebody say 'a dime a dozen'?

5.9/10

Review by:Lucas of Metal Storm

Maszerują drony, maszerują – karabiny błyszczą, czarny ich strój…” A, tak jakoś powróciłem z wakacji to i humor mi dopisuje, przeinaczyłem więc sobie starą wojskową piosenkę tak, by pasowała do debiutanckiego krążka Obitus. No bo proszę państwa, Szwedzi z Obitus wysmażyli całkiem ciekawy kawałek czarnego metalu na „March Of The Drones”. W booklecie można wyczytać, że muzyka ta powstała w latach 2005 – 2006 i aż sam się dziwię, jakim to cudem materiał ten przeleżał trzy lata zanim Eerie Art Records postanowiło go wydać. „I chwała im za to!” – winni teraz zakrzyknąć wszyscy Ci, którym na czarnym sercu leży dobro i rozwój najmroczniejszego z najmroczniejszych gatunków metalu. Obitus bowiem nie wypadł byle czarnemu krukowi spod ogona. Na scenie są już niemal dekadę, przy czym „March Of The Drones” to dopiero ich pierwsza duża płyta. Ale jaka! Black metal zagrany z pomysłem i polotem, zdarza się, ale jak na mój gust niezbyt często. A Obitus usiłuje dodatkowo tchnąć odrobinę świeżości w ten gatunek. A najlepsze jest to, że za cholerę nie wskażę Wam jednoznacznej odpowiedzi, na kim Szwedzi wzorują się. Chwilami wydaje mi się, że na Marduk, ale trochę zbyt „nowocześnie” grają. Kiedy indziej podsunął bym Deathspell Omega, ale z kolei jak na nich jest to zbytnio „klasyczne”. Przeczytałem kilka recenzji tego krążka i zauważyłem, że inni recenzenci mają ten sam problem. Ale to świadczy jedynie o zespole, bo faktycznie słuchając „March Of The Drones” nie jest się w stanie wyłapać niczego więcej, ponad zimne, mechaniczne brzmienie i nietuzinkową atmosferę wprowadzoną przez duet. Odpowiadający za instrumenty Anders udziela się również w innym genialnym bandzie – Waning. I mimo, że zespoły te różnią się od siebie, to w pewien sposób też są do siebie podobne. Czuć tu zimną mizantropię człowieka, jego samotność, ale i agresję wobec otoczenia. Muzyka Obitus w pewien sposób nosi na sobie militarne piętno – riffy odgrywane są maszynowo, jak na rozkaz, bezwzględnie. Choć to tylko moje skojarzenie wynikłe z odbioru muzyki wspartego odrobiną alkoholu. Cóż, ja dalej nie mogę do końca rozgryźć tego Obitus. Ilekroć włączam ten krążek, tyle razy odpływam i nie umiem znaleźć odpowiednich sformułowań, by przynajmniej trochę przybliżyć Wam zawartość „March Of The Drones”. Najlepiej zróbcie to sami, nie zawiedziecie się.

8/10

Review by:Chaos Vault Webzine

Obwohl es sich bei The march of the drones um das Debütalbum handelt, sind Obitus keine Unbekannten mehr. Anhänger des extremen Black Metals dürften Obitus wohl noch ein Begriff von der 2001 erschienen Split mit Kult ov Azazel, Humanicide und ThyLord sein. Seitdem ist die Musik Obitus’ moderner und technischer geworden, und auch die Brutalität konnte noch erheblich gesteigert werden. The march of the drones ist ein extremes und brutales Album, auf dem technische Raserei und mannigfaltige Riffs das Geschehen dominieren. Durch das teilweise künstlich oder mechanisch wirkende Geprügel wirkt The march of the drones bisweilen ein wenig industrialisiert, was der Atmosphäre der Musik jedoch zugute kommt. Trotz aller Härte und Geschwindigkeit verzichtet Obitus aber nicht auf Harmonie. Die Gitarren besorgen immer wieder harmonische Melodiebögen und kalte, stimmungsvolle Riffs, die manchmal ein wenig mit Waning zu vergleichen sind, was daran liegt, das Gitarrist und Schlagzeuger Anders Ahlbäck eben auch bei Waning sein Unwesen treibt. Obwohl man dieses Black-Metal-Inferno durchaus als kraftvoll beschreiben kann, ist die Klangproduktion eher kalt und steril. Dies gilt für Schlagzeug und Gitarren gleichermaßen. Dies ist für mich auch ein kleiner Kritikpunkt. Denn in den mittelschnellen und schwungvollen Abschnitten entwickelt der Klang eine wunderbare, druckvolle und raumfüllende Dynamik, die mächtig, zerstörerisch und hasserfüllt ist. Doch in den apokalyptisch schnellen Parts verliert sich dieser warme Klang, und helle, kalte Töne dominieren stattdessen das Klangbild. Genährt wird dies dann zuweilen auch von den trockenen, technischen Strukturen. Dabei wird Obitus allerdings niemals so technisch oder chaotisch, wie etwa Anaal Nathrakh. The march of the drones ist ein extremes und modernes Album, das von der Brutalität gleichermaßen lebt, wie von guten, eisigen Riffs und Melodieführungen. In einigen Passagen, in denen das Tempo nicht ganz so radikal ist und schwungvolle Elemente Platz finden, entfaltet sich die Musik zu einer energischen Black-Death-Metal-Mischung. Wer es technisch, modern und brutal schnell mag, sollte sich die Platte zulegen, zumal sie gute Melodien parat hält. Mir persönlich sind die Parts purer Raserei allerdings etwas zu steril und deshalb ausdrucksarm; und ab und zu wirkt das Ganze auch einen Tick zu professionell und abgeklärt auf mich. Ich bevorzuge stattdessen die wärmeren und schwungvolleren Arrangements, die leider in der Unterzahl sind.

7/10

Review by:Aceust of Hateful Metal

Dat Zweden naast death metal-bands ook een aantal prima black metal-bands in huis heeft, bewijzen gezelschappen als Marduk, Dark Funeral en Watain wel. Ook het eveneens Zweedse Obitus tapt muzikaal uit hetzelfde roemruchte vaatje. De kern van de band wordt gevormd door Johan Huldtgren (vocalen) en Anders Ahlbäck (instrumenten) die met March Of The Drones hun debuut maken. Eens kijken hoe het allemaal klinkt. Zoals ik eerder stelde, behoort Obitus tot het zwartmetalen gilde. De typerende kille riffs vormen de basis van het bandgeluid, dat verder wordt aangevuld met de nodige elementen uit de industrial- en electro-scene. Hierdoor heeft Obitus aardig wat weg van Aborym en Anaal Nathrakh. Wel trekken de heren wat minder fel van leer dan de eerdergenoemde bands. Sfeer is duidelijk belangrijker dan brute kracht en dat geeft deze plaat een bepaalde vorm van klasse. Zanger Johan bedient zich meer van een grunt dan de archetypische scream. Op compositorisch niveau doet Obitus niet onder voor de twee eerdergenoemde vakbroeders. Tekstueel krijgen mensheid en religie er stevig van langs, hetgeen meer regel dan uitzondering is in het bekende wereldje. Productioneel klinkt alles ook nog als een klok, dus een kleine parel lijkt hier wel geboren. Liefhebbers van Aborym en Anaal Nathrakh zouden deze plaat een goede kans moeten geven. The Mars Of The Drones is een klasseplaat geworden!

85/100

Review by:Raymond of Zware Metalen

Poderoso album este dos suecos Obitus,excelente mesmo. Os primeiros sons do tema "Sacrificial Abolishment" vão criando um certo suspense e não sabe bem o que está para chegar isto olhando para a capa e titulo do album mas depois do primeiro disparo de bateria a dupla Johan Huldtgren(voz) e Anders Ahlbäck(o resto que se ouve aqui) mostra que não vêm com as melhores intenções. De facto o que se ouve aqui é um BM de altissimo nivel com algumas passagens a fazer lembrar Cobalt enquanto noutras se assiste a autenticas descargas a boa maneira Watainiana ou Impaled Nazarene tudo isto envolto numa aura negra e na qual por vezes surgem alguns samples que adicionam um certo pendor insano as musicas todas elas de uma qualidade extrema por vezes superior a alguns grandes nomes da cena BM actual. A marcha do drones que se ouve aqui não deixa prisioneiros apenas um rasto de terror e caos e uma brisa de vento nuclear seguida de chuva acida para cima da nossa mente. Odio e destruição é algo que a voz transmite,enquanto na parte instrumental é como se estivessemos nas unhas de um qualquer sadico sem o minimo de piedade. Dividido em 3 partes Summer/Fall/Winter completamente letais estes suecos mostram como o actual BM pode ser tão ou mais malevolo que o feito na decada passada sem a adição de flores ou ambientes florestais...aqui se existe adição de algo são espinhos,sangue e uma qualquer maquina de tortura vinda de um universo de ficção-cientifica... Venenoso...

Review by:Zyk´s Asylum

Das Attribute 'brutal' ist man eigentlich mehr von Death Metal gewöhnt, die Schweden OBITUS sind aber deutlich Black Metal, wenn auch Anaal Nathrakh deutliche Spuren im Krachgewand hinterlassen haben. Allerdings ist das technisch fundierte, brutale und dissonante Lärmmäntelchen die perfekte Umgebung für die Lyrics, PC war gestern, heute sind OBITUS. Und die haben den Kaffee mal so richtig auf und schütten ihren ganzen Hass und Verachtung auf die marschierenden, hirnlosen Dronen, deren Welt von manipulierenden Medien statt vom eigenen Denken bestimmt wird. Hier gibt es fünfundvierzig Minuten richtig auf die Fresse, das Album kommt am Stück, die Unterteilungen in Songs und Kapitel dient allein der thematischen Strukturierung, nicht der der Musik. Das macht eine dreiviertel Stunde zerstörenden, mit messerscharfen Klingen, eh Riffs und hysterischem Drumming garnierten und mit Hass versprühten Black Metal der allerbrutalsten Sorte und das Album zu einem echt harten Brocken Rezensionsarbeit. Beschreiben kann man das eigentlich nicht, zumal Anaal Nathrakh nun nicht unbedingt mein Fall sind und die im Infozettel versprochenen Ähnlichkeiten zu WANING nur sehr bedingt vorhanden sind (obwohl die kreative Instrumentenfraktion auch hier für diesen Teil verantwortlich zeichnet). Mir fallen an Vergleichen bezüglich der gnadenlosen Brutalität und technischen Härte eher BLOODSWORN ein. Dennoch, in all dem Krach verstecken sich schon typisch schwedisch melodische Ansätze, die durchaus ansprechend sind. An der technischen Umsetzung kann man eher auch nicht rummeckern, den hochtechnischen Anspruch an sich selbst werden OBITUS mehr als gerecht, die machinelle Gnadenlosigkeit erzeugt eine fiese Kälte. Daher mag es ungerecht erscheinen, wenn ich nun die mangelnde Abwechslung im Songwriting bemängele, tue ich aber trotzdem. Auch in einem 45-Minuten Song kann man Abwechslung einbauen, erst recht dann, wenn man den Hassbrocken schon in Kapitel und Songs unterteilt. Und den vom Label propagierten Einfluss von WANING, die ja auch nicht gerade leicht geniessbar sind, dürfte man für zukünftige Releases gerne ausbauen, denn die melodischen und intensiveren Parts kommen hier eindeutig zu kurz. Man darf jedoch vermuten, dass das den Herren meilenweit am nietenbewehrten Hintern vorbeigeht, da sich die Intention zu 'gefallen' wohl in Grenzen hielt, auch das neue Freunde finden steht wohl nicht sehr weit oben auf dem persönlichen Wunschzettel, deswegen nochmal die Warnung an alle zartbesaiteten und pc-empfindlichen Hörer, einen grossen Bogen um diese Band zu machen. Wer mit klaren Worten und einer gehörigen Portion Hass und musikalischer Brutalität, Gewalt und Apokalypse kein Problem hat, ist aber wirklich gut bedient.

8/10

Review by:Velvet of Metal District

Nedávno jsem vám v podobě recenze a rozhovoru představil nadějnou gothenburgskou formaci Waning. Mozek kapely Anders má však v záloze ještě další projekty a jeden z nich se na stránky Mortemu hodí víc než pentagram k satanismu. OBITUS je formálně starším projektem, který po demu, split albu a jednom EP konečně přišel na řadu i s debutovým materiálem „March of the Drones“. Anders v OBITUS obstarává veškeré instrumenty a přizval si kolegu z kapely Clonaeon, aby se postaral o vokální party. Na povrch tedy vyplouvá první otázka - jak se OBITUS liší od svého mladšího bratříčka Waning? Jedná se samozřejmě o diametrálně odlišnou nahrávku. OBITUS se prezentuje přímočařejší, rozhodně ortodoxnější a sterilnější formou rychlého black metalu, protkaného nenávistí k současné společnosti, smrtí a ostatními nehezkými věcmi. Deska je rozdělena do třech částí (léto, podzim a zima), které jsou reprezentovány vždy několika skladbami. První tři písně se vyznačují zdrcujícím tempem, agresivitou a nekompromisním přístupem. Zvuk kytar je velice ostrý a v některých pasážích by mohl zastupovat rozjetou motorovou pilu či cirkulárku na dříví. Podzimní část, kterou reprezentují pouze dvě stopy (nejkratší a nejdelší z alba), začíná nasamplovanými ruchy a kytarovým kvílením, které je doplněno motivem, jenž se objevuje po celou hrací dobu formou industriálních vsuvek. Ty jsou zakomponovány do vybraných skladeb. Záměrně byly využity pro zefektivnění atmosféry, pocitem jako byste se ocitli v pitevní místnosti během exhumace. Skladba „Inconsequential“ však okamžitě sklouzne zpět ke kytarové řezničině, tentokráte však na řadu přichází i pomalejší postupy a techničtější styl hry. Johan předvádí, jakým hlasovým rozsahem byl obdařen a kromě jeho řevu se dočkáme i nižších poloh, které naštěstí nejsou často využívány a příjemně tak vokální výkon oživují. V této dvanáctiminutovce se dočkáme několika zajímavých zvratů a momentů. Obzvláště některé kytarové riffy mi natolik utkvěly v paměti, že se „Inconsequential“ stala mou nejoblíbenější skladbou desky. Oba závěrečné tracky ze zimní části dokončují příběh celého debutu. Muzika je z větší části proložena motivem „nekonečné prázdnoty“, která posluchače vrací do pitevní místnosti. Tentokrát však ne jako návštěvníka, ale jako mrtvolu, na které se budou provádět patologická vyšetření. OBITUS posluchače rozhodně nehodlá šetřit. Když se na debut podívám z obsahové části, nemám mu co vytknout. I přes to, že jde o poměrně „monotónní“ styl, tak způsob, jakým to OBITUS dává posluchači sežrat, mě baví. Jedním z negativ je zvuk, který mohl být dotažen do více dravější a dynamičtější formy. Chvílemi působí velmi ploše a až „sterilně“, jak jsem již naznačil. Zásluhu na tom mají hlavně bicí a jejich neustálá řežba. Jinak musím říci, že i po dlouhé době co „March of the Drones“ poslouchám, můj zájem neopadl a nadšení z desky trvá. A to u podobného spolku rozhodně oceňuji vysokou známkou. Podobný styl muziky většinou posluchače nedokáže „bavit“ dlouho. OBITUS je však světlou výjimkou v tomto černém světě.

7/10

Review by:Dufaq of Mortem Zine

Black metal has gone from being a genre dominated by mainly primitive, grim and frostbitten bands to a style that has a vast amount of limbs to pick fruit from. There’s still the cold, underground and raw bands that try to sound as simple and evil as possible, but the genre has gotten highly experimental and even more atmospheric over the years. The admittedly fitting post-rock like sound mixed with an epic approach to song-writing that bands like Altars of Madness and Enslaved and partly Wolves in the Throne Room have adopted has been well received, and the bands representing the genre nowadays seems to have taken steps in the right direction and have become bands that I, even though I’m not the biggest black metal fan in the world, have been increasingly more important to me and my journey on the blackened path of this musical Armageddon. Obitus are a two-men project that hails from the dark woods of Sweden, and The March of the Drones is their debut. After two EP’s that gained a lot of attention in the underground, the debut is finally here, well worth the wait. The anti-human duo have forged together an excellent piece of venomous black metal here. Even though it might seem short with its seven songs, it clocks in for well over forty minutes, and to be honest I wouldn’t mind it being longer. Epic and pitch black atmosphere wraps the snake-biting, sometimes lightning-fast, sometimes slow and crushing riffs into a package of blistering madness and despair coupled with the ice-cold almost Abbath-like vocals. Their sound isn’t quite as `soft` as Altar of Plagues, as the guitars is much more edgy and remind me of both a perhaps little more modern In The Nightside Eclipse-era Emperor and Sons of the Northern Darkness-era Immortal. Complex and often long songs never get boring, much due to the tempo-shifts, the exciting tremolo-riffing and the up-backing excellently executed drum-work that follows every twist and turn with sharp accuracy. The demonic vocals hurls up a swarm of infuriated ravens that are readying to peck your eyes our, and the raging intensity and aggression shatters the ground and opens the black gate to a much warmer place. As depressive as it is, the message is clearly delivered through both spoken word intros on a couple of songs as well as the music and lyrics being deliberately thought through. The odd keyboard sounds, the fierce and slightly melodic yet atonal guitar-work on The Endless Void makes you feel trapped in well, an endless void. The music is glimmering with despair, and the shattering closing epic The Drone Marches On massacres all remaining hope and leaves you depressed and hateful. Even though this is packed with quality from the very beginning, things really picks up towards the end. The ending trio, who all clocks for well over seven minutes, is the climax that the previous songs aim for. High-end, cold tremolo-riffing and blasting at hyper-speed blackens the clear soundscape as the sometimes somewhat mid-pitched grinds and sometimes low growls clutches you with a demonic grip that’ll drag you into a world a madness. The rolling riffs will grab you like a boulder thundering down a hillside, tearing every tree in its line from their roots and drag them along in its fall. Nothing can or will save you. If you’re in for a thrill, and if you’re an eager follower of the exciting black metal movement nowadays, get a hold of these young guns from Sweden, as I’m sure they’ll impress you in one way or another. The March of the Drones contains everything a black metal record should to make it interesting and compelling nowadays, and the fact that this is a young and talented, up-and-coming band, makes it even more of a pleasure to listen to and experience. Highly recommended.

86/100

Review by:Thomas of metalreviews.com

Οι Ander Ahlback και Johan Haldtgren αποτελούν το δημιουργικό πυρήνα του σχήματος με τον πρώτο να ηχογραφεί όλα τα όργανα και τον έτερο να κάνει όλα τα πολύ ταιριαστά φωνητικά. Παίζουν black, η παρουσιαζόμενη δεν είναι η μόνη κυκλοφορία τους, αλλά αισίως η πρώτη που προωθούν με συνέπεια. Αν από το εξώφυλλο υποψιάζεστε σωστά ότι εδώ δεν έχουμε κάτι το πολύ τυπικό, το ωραία τακτοποιημένο υλικό τους έχει όντως μια αυθεντικότητα. Παρά τη βιομηχανική χροιά που προσδίδουν στον ωραίο ήχο τους τα προγραμματισμένα τύμπανα, το όλο υλικό είναι ευχάριστα ρυθμικό, με κάποιες ξεχωριστές μελωδίες ενώ από το παίξιμο και τις ερμηνείες γίνονται αμέσως διακριτά ο δυναμισμός και η καλή τους διάθεση. Έχει αποτυπωθεί πολύ πετυχημένα η οργανωμένη ορμητικότητά τους, στοιχείο που τους κολακεύει, αφού αυτόματα τους ξεχωρίζει από την υπερπροσφορά του είδους. Διαθέτουν χαρακτήρα και μπορούν να είναι αξιοπρόσεκτοι από ένα ευρύτερο κοινό.

Review by:Flight of Pegasus - Full Metal Radio

Het is een klein wereldje, dat heb ik al vaker gezegd. Kort geleden had ik de Zweedse band Waning over de vloer, en gitarist Anders (Ahlbäck) vroeg of ik zijn andere band Obitus kende: jawel, ik heb zelfs ooit hun demo ‘Coup De Grâce’ uit 2000 voor wijlen Vampire Magazine besproken, maar het heeft tot 2009 moeten duren voor eindelijk het volledige debuut kwam met de titel ‘The March Of The Drones’. Obitus is war black metal met een zware industriële ondertoon, maar beperkt zich niet tot hersenloos gedram. Het concept van de plaat is puur nihilisme, en wat dat betreft passen de elektronische drums dan prima, inclusief het op hol slaan op sommige momenten. Zoals ik al zei: de band beperkt zich niet tot hersenloos gedram alleen. De nummers bevatten veelal een soort van ambient-achtige breaks, waardoor het niet gaat vervelen in tegenstelling tot andere bands in dit genre. Ergens heeft het wel iets weg van een kruising tussen Aborym en de Marduk een jaar of tien geleden, maar het is toch anders. Ook mensen die van bombastische death metal houden zouden dit Obitus eens moeten beluisteren, en luister dan naar de riffs van ‘Inconsequential’ bijvoorbeeld. De nummers zijn over het algemeen lang (zeven nummers in drie kwartier muziek) en de heren hebben goed begrepen dat je dan wat breaks en vertragingen moet inbrengen: iets wat een noodzaak is als je nummers langer dan vier minuten schrijft. Aan de ene kant is Obitus pure machinale black metal, maar aan de andere kant laat de band horen duidelijk af te wijken van het gros in het genre: men biedt beduidend meer aan muzikale capaciteiten en afwisseling. Als zodanig kan ik dan ook het enthousiasme uit de ondergrond goed begrijpen en als zodanig het album aanbevelen bij fans van het genre.

83/100

Review by:Neithan of Lords of Metal

Obitus is a two man band hailing from Gothenburg, Sweden. Johan Huldtgren does all the vocals and Anders Ahlbäck plays all the instruments. They are absolutely not Gothenburg style metal (melodic death, that is). They play straight forward, icy, black metal that assaults your ears. The songs are filled with the cold sounds of war and hatred. It’s sheer, wide open, and chillingly brutal. There is also something tranquil and almost beautiful flowing through the music. I listened to them while wandering the streets of NY during a snow storm and the music really fit. I could see the drones marching all around me… On their way to their corporate jobs. I felt like a lone warrior. There is a dynamic in the music of Obitus. I found myself feeling like I was watching the world from behind a glass wall at times… As if I were only observing the spectacle. And at times I felt the urge to shatter this glass wall and begin assaulting the drones. If you like modern black metal, I definitely recommend that you check these guys out.

8.9/10

Review by:Logan of Keep it Metal

This is the debut full-length from this Swedish three piece, but if I'm not mistaken they had an album ready to be recorded a couple of years ago called "Sonnilon" but that was not recorded because it didn't represent the current Obitus. Obitus started in 2000 and they have released one demo, one four way split and one EP and this full-length. I have only heard a few of their earlier tracks and that was a long time ago so I can't really comment on that material or draw any comparisons with the latest material, but I can say that I like this. The music is fast, guitar driven Black Metal filled with aggression, hate and brutality. The riffs are top notch, these riffs are no simple Darkthrone rip offs, these are intricate riffs, played with oppression and force. Overall the music on the "The Drones Marches on" (great title) is fast and brutal, with a lot of interesting arrangements, really good drum work and fierce and furious riffing combined with the sick vocals makes this an harrowing experience, just on the edge of maniacal madness. But there are also some slower passages here and there which is really good because, lets be honest, hyper speed through out an album gets boring, no matter how good the riffs are. This is an excellent album for all into well played, brutal and aggressive Black Metal.

Review by:Mordant of Minacious Webzine

Some years ago I watched an episode of Kingston ER on the televisual and there are two stories that I always recall. The first was some poor bloke that had blocked his shithouse and so had poured a gallon of bleach into the toilet to get things moving, that didn't work so he followed it up with a gallon of petrol, the daft twat then chucked a match down the pan and was met with an explosion of acid and flame that turned the guy from black to an ashen white. The second was a chap who had broken his neck and so the doctor got out his trusty Black & Decker to fix a halo around his head so that they could put his neck in traction. You were then greeted by the sight of his skull being drilled out with no pain relief other than an aspirin and a strip of leather to bite on. Fuck that for a game of soldiers. Why then do I find joy in “The March Of The Drones,” which more or less is the audio equivalent. OBITUS originally released this album all on their lonesome but now Eerie Art, (who know a good thing when it bares its teeth at them,) have given you further opportunity to increase your tinnitus, and this will leave your ears ringing. There's a clue in the title as to what the album sounds like, not “Marching” because this album charges along but “Drones” conjures up a cold, inhuman impression and that's exactly what you get. The drumming has a mechanistic quality to it, seemingly tireless as it pummels and pounds relentlessly, cannoning off furious salvoes one after another and basically carpet bombing everything to rubble. Throughout the barrage there are subtle shifts in tempo and emphasis and such is the balance around the kit that the unending battery never becomes stale, of course there are moments when the blast subsides but not for long, just enough time to pick up whichever limb OBITUS have blown off and dash off to try and find someone who's handy with a needle and thread. There is more than one way to skin a rabbit and here the guitars exhibit one of the number of methods for playing lethal Black Metal, in this case it's the twinning of a hydrochloric rhythm with a blunt drill lead. There's a stark melody that weaves its way throughout, much in the way venom courses through the veins, there's a morbid beauty in how it works but it still involves pain and plenty of it. Often the lead comes streaking in, stabbing away like the shower scene in “Psycho” but more often than not the bladework is faster than Zorro on speed with the added woe that here the blade is serrated. The guitar is teeth-chatteringly discordant for a fair proportion of the album and throughout there is a backdrop of solid riffing that does a fair impression of building collapse, despite the stony-faced expression, there is a hyperactive edge to the music, it's constantly evolving and changing within the tumult, OBITUS seemingly not satisfied with a straight blow your house down approach. The vocals are defiant and derisive, snarled yet clear, they are half-man, half-beast and flecked with malice, you can add half-machine as well because of the staring, unblinking lack of warmth they possess. The bass is felt more than heard, mainly due to the thickness of the rhythm guitar but, nonetheless, it contributes to the dense sound OBITUS use to lay waste, if there are still people out there that think Black Metal sounds thin and tinny for the most part (they don't still exist surely?) listen to this fucker, it's thicker than week-old porridge and just as lumpy. I suppose you could point to some Death Metal influence, personally I'd say this is just anvil hard and anvil heavy Black Metal, the strafing melodies amongst other aspects supporting that proposition. There you go then, a wrecking ball of an album. I wouldn't be surprised if somewhere OBITUS have a jack-hammer named after them.

8.5/10

Review by:Mac of The Metal Observer

Don’t let the word Drone put you off, this is no exercise in that sort of dro)))ne but a lesson in outright ferocious extremity. This has that sort of intense feel to it that Strapping Young Lad ploughed into their finest moment ‘City,’ not that musically it is comparable, it’s more a case of the feeling behind it and that feeling is outright brutality. This Swedish duo comprising of Johan Huldtgren all vocals and Anders Ahlbäck all instruments have created a concept album here, that concept is explained by the record label as “a multi-pronged attack against the non thinkers (like the drones they are) of the world, a relentless attack on heard mentality of the intellectually lazy.” The only respite is in the form of spoken word inserts talking about the death of what I assume was a substandard human, a drone killed due to his own internal turmoil. There are seven actual tracks divided into three parts, Summer, Fall and Winter. The music does however flow seamlessly and reading an interview I was not surprised to discover this was essentially designed as one track and the titles partly put in to make marketing easier. After two minutes of quiet guitar plucking, hell is unleashed as this flies off the handle in a welter of violent noise. It pretty much carries on in this fashion for the next 42 minutes too. Vocals are not sung but yelled with force and are full throated, every bit as brutal as the whirlwind strum of the guitar and blast battering drums. My CD came with the full booklet which is nicely printed on black with illustrations of grim and deserted looking buildings, the sort of places where you would expect experiments carried on behind closed doors, sheltered from humanity. There is a bleak and industrial feel behind this and it does spill into the music at times, I noted that a description mentions the word ‘martial’ but it is only really a fleeting one at the beginning of a track. There are few moments where things break and a snatch of melody and distinguishable vocals come through, and I am reminded of early Nachtmystium. Also as we brood with a nightmarish technological edge towards Fall and track ‘Hypothesis’ a few gabba beats would have flung this toward Blacklodge territory. However it does not go down that path but rather this is a break before the headlong intense extremity is spat back out with extreme prejudice. If you like your music fast and furious, perhaps along the lines of a black metal Berzerker but with longer fleshed out songs and a metalized soundtrack that would keep up to the likes of Tetsuo The Iron Man, then Obitus could well be your new best friend. It’s interesting to note that this is considered their debut album as although they recorded one before called ‘Sonnilon’ by the time they got round to releasing it they considered they had moved on too far musically and decided to scrap it. One can only wonder where Obitus can go from here as they have already created the soundtrack to apocalyptic annihilation and pretty much left nothing but a barren void in its place.

Review by:Pete Woods of MTUK Metal Zine

If you come to Obitus with no prior knowledge, the packaging, song titling and ominous, greyscale, two-man line-up might trick you into thinking that “The March of the Drones” is going to be some drifting, bleeping power noise project. Opener “Sacrificial Abolishment”, although guitar-based, is weird, distorted, repetitive and harsh enough to further your confusion, right up to the moment when the nastiest, most hellish, industrially-tinged black metal shape wells up from seemingly nowhere to stab you in the face. If you’re anything like me, you’ll grin like a maniac. Maybe it’s this preconception, maybe it’s the drum programming or the samples, maybe it’s just the sheer nihilism of Obitus’s slicing, clashing sound, but despite the recognisable black metal structures upon which their music is built, it still seems post-apocalyptic, modern, weird and in no small measure wonderful. There are some starkly raw, muscular, Swedish riffs on display – especially on “Now We’re Nothing” and effortlessly devastating track “The Endless Void” – and in general the guitar work is gutsy and sharp, providing layers of awesomely reverberating shapes in which the black metal fiend can bathe, but there’s a whole lot more going on too, making “The March of the Drones” a challenging listen. I think I’m right in surmising that this album is intended to be listened to as a whole; there’s hardly any distinction between, for example, the second and third tracks, and particular sounds recur throughout. Certainly, that’s a good way for the listener to tackle it; if you take the seven tracks as one cleverly modulated composition, with frequent outbreaks into unsettling ambience and connecting samples, you’ll be much less fatigued than if you try to understand each section of the horrendous onslaught individually. Sure, for some people this will be a turn-off, but I find it unfair to criticise Obitus for daring to do things by their own rules. “The March of the Drones” sounds like someone declared futuristic, black metal war within the confines of your skull; it’s remarkably unforgiving, but there are plenty of spiky, varied shapes to which your brain can cling. Probably not one for the faint of heart or the orthodox of mind, but definitely an interesting, engaging and satisfyingly brutal mental workout for those who delight in going against the grain.

79/100

Review by:Ellen Simpson of Hierophant Nox