Instead of using the word 'obscene,' we mixed it with 'Zen,' as in you've found your balance and equilibrium as a human being in the obscene, in violence and blood. The sinister and searing results reaffirmed Meshuggah's status as a premier force in modern metal, while also recalibrating the band's creative course. However, the process of making the complex, multi-layered masterpiece was nearly as punishing as the music itself. Though the album, Meshuggah's sixth, was originally slated for a November release, the band's ultra-intense work ethic pushed its release date back four months to March 7th, ; Meshuggah were even forced to bow out of a European tour with Dillinger Escape Plan in order to be able to finish the record. The end product was well worth the time and effort, however, as anyone who has ever banged their head to the polyrhythmic perfection of tracks like "Bleed," "Pineal Gland Optics" and "Dancers to a Discordant System" can attest. In perpetual celebration of a modern classic, here are eight things you might not know about obZen. The band were completely obsessed with getting the tracks perfect — like, really, really obsessed Recording the album at their own studio — Fear and Loathing, located in Stockholm — meant that Meshuggah were able to put obZen together at their own pace, instead of worrying about racking up studio fees with every hour that passed. Haake alone took a month to record his drum tracks — typically recording between 20 to 30 takes for each passage of each of the album's nine songs — and then spent another month sorting through take after take, in order to compile the ultimate drum performance. We were continuously changing and tweaking the riffs to get everything right. Jens Kidman hadn't heard any of obZen 's songs before he went in to record the album's vocals While most singers usually have at least a fairly good idea of what they'll be singing when it comes time to head into the studio, Meshuggah vocalist Jens Kidman went into the obZen sessions completely cold, without having heard any of his band's new material.
Best viewed without Internet Explorer, in x resolution or higher. I'm pretty much done with Meshuggah at this point. Boring riffage, drum programs, vocals that are going stale, and a production value that makes me wish I never decided to review all the Meshuggah albums. However this album is different.
By , Meshuggah had smashed their way out of the metal underground. They followed Nothing with the long single-track EP I , which was released without fanfare on an unknown indie label. The EP was a preface for their even more uncommercial one-song album Caththirtythree , on which the band replaced organic drums with electronic percussion and relied on a combination of experimental riffs and demanding avant-garde progressions that were so multi-dimensional they were impossible to play live. While both releases might seem like willfully antagonistic efforts to skirt the djent craze, Meshuggah denies any such motivation. Having satisfied their need to take a sonic leap off the cliff, Meshuggah returned to their own style of bludgeoning, technical death metal on the album o bZen. We wanted to have a good blend as far as tempos and different vibes and we definitely aimed at having each song be very separate from all the others. But writing and recording o bZen was hardly a matter of hopping back on the schizophrenic three-legged horse and hitting full-gallop. Meshuggah wanted to craft something familiar without repeating themselves, while at the same time avoiding what other so-called djent bands were doing.