Year Of Metal #020: Obsequiae - The Palms Of Sorrowed Kings

While plenty of metal acts like to harken back to fantasy-driven times of yore, Obsequiae are the first to feel like they genuinely live their gimmick (you won’t find too many acts in this genre with a full time harp player, put it that way). This 2019 release is full on lute-metal, with mediaeval instrumentation complimenting some of the lushest soundscapes and least vulgar displays of power I’ve heard to date.

Instrumental opener “L’autrier m’en aloie” sets the tone by way of a pretty guitar pattern that throws it back to the Tudor times, but it’s “Cereces In Emerald Streams” that truly fires the album off. This shimmers and stomps in equal measure, with a super catchy, crystal clear riff and pummelling percussion designed to psych up legions of armour-clad soldiers for an epic battle. 

It really must be emphasised how remarkable it is that this album isn’t in the least bit lame or goofy. Metal and fantasy going hand in hand is nothing new, but the commitment to the bit on Obsequiae’s part should be a stumbling block. Instead the decision to lean on simple melodies as the bedrock for huge songs is incredibly refreshing. The title track is a highlight, one of the hardest rockers on the record. The mostly clean guitar work goes down a treat - Tanner Anderson’s roared vocals are a blast of noise, with the guitar lines carrying the melody. 

There is some sense of too much of a good thing across the record’s near-50 minute runtime. While the mediaeval metal hook is a great one, you do box yourself in to some extent. Tracks like “In The Garden Of Hyacinths” do go in one ear and out the other to an extent. It’s a good piece but it’s not the grabbiest of riffs or anything to really make it stand out. To some extent a formula exerts itself on The Palms Of Sorrowed Kings pretty quickly. 

“Morrigan” stands out all the more to this end for replacing epic sweep with intensity and a degree of discordance. There’s still plenty of drama here, with Anderson’s guitar sounding like bagpipes at one point, but this feels much more tightly wound and aggressive, especially during a thumping coda that chucks a wild succession of chords against the castle walls. “Emanations Before The Pythia”, the album’s crescendo, mixes things up too with a disembodied voice muttering low in the mix and a thicker, more serious texture. 

The Palms Of Sorrowed Kings is a hugely enjoyable listen thanks to its commitment and fantastic production particularly. The sweet spot between renaissance fair and power metal is a tough one to locate but Obsequiae achieve it admirably, even if the box they put themselves in isn’t exactly huge.