Calling forth an unheard-of wave of empirical, high-reasoning minds in service to knowledge beyond the long-collapsed farce of religion (and the perceived supernatural) to align under new framework Rome, Italy-borne black/death thrash metal quartet THE GREAT OBSERVER raises heavy lid upon the ruins of western civilization, staring through the void and into nihil on this inspired debut full-length album. ‘Loss of Transcendence‘ reflects interest in two thought-formae which aren’t so obviously cogent as arcane extreme metal reforged and dismal post-theothanatotic reality are merged into short and ranting odes of thee enlightened. All of this is of course meaningful excuse to parade interest in the ever-malleable forces of 80’s extreme metal wherein we find the band’s fusion in step with pre-idealist states for black, death and thrash metal when each were fruiting closest to their roots and cross-pollinating in wicked, unfettered ways.

The Great Observer formed circa 2021 by way of guitarist/vocalist Daniele Z. (ex-Night Gaunt) and drummer/vocalist Luca E. (ex-Demonomancy) without any particular sub-genre or idea in mind, forging their germinal ideas in the rehearsal room for at least a year or two. The style developed in the process pulled from early extreme thrash a la early Mortuary Drape, Slaughter (Canada) and a general late 80’s styled thrashing black/death metal fusion. After onboarding bassist Claudio S. (Vultures Vengeance) and guitarist Matteo A. in 2023 they’d begin working on what’d end up being ‘Loss of Transcendence‘. Though they’ve provided no minor releases in the interim it would be fair to consider these folks’ resumes as a good indication as to what their debut manifests, an extreme metal record with close connections to the sinister and extreme side of heavy metal beyond the mid-80’s.

Though The Great Observer spend their time punching out surreal ~3-4 minute proto-death action in quasi primitive fashion their words are far less blunt than their riffs. We find the quartet’s lyrics themed by western philosophical interest between ancient Greek sophistication amidst interpretations of existentialism from the 19th and 20th century. The way I’ve interpreted the theme of ‘Loss of Transcendence‘ comes from auld thought on the influence of religion on western society stretching from early criticisms of mankind’s ability to perceive divinity (or, “the gods”) to Nietzschean observations wherein the collapse of popular belief in Christianity signaled the destabilization of the Western world’s moral foundation, hierarchical structure and greater identity. This should at the very least ping the brains of folks who’ve taken more than a couple requisite college level philosophy courses but this doesn’t fully indicate the attitude and point of view of the band, a post-collapse vision by my guess. Without the lyric sheet in hand all is speculation.

Of course the attitude of The Great Observer, its 80’s heavy metal swaggering shove, is readable from the start as opener and eponymous piece (“The Great Observer“) reflects some similar points of sonic inspiration and energy as Greek troupe Eleventh Ray wherein a coherent thread is fostered between the percussive trompe of early extreme metal (in both cases, the Hellhammer-to-Celtic Frost transition) and pure thrash metal but with echoic blackened death metal informed vocals leading the attack. That opener is placed up front for good reason as the primal sledge of their work is telegraphed via a band-titled song meant to represent the major intent of the band on simple terms. Follow-up/single “Sentenced at High Noon” (see also: “The Weight of Being Free”) compounds that effect, resembling an amped-up version of ‘To Mega Therion‘-informed death metal in the late 80’s/early 90’s such as Pentacle.

Countless vocal layers feed both the main vocal lines and frequent backing/accompaniment to the point that The Great Observer‘s main characterizing element becomes its vocals beyond their interest in what I’d describe as 80’s death metal most generally. Mid-album songs “Herald of Thorns” and especially the apex of “How Far the Faithless Will Venture” almost recall a Deceased-esque vision of verbose death metal vocal rooted in structures of earliest and/or ‘epic’ speed metal ideal per this effect. I’d found this aspect overused to the point that it vanished some of their better riffcraft beneath the spectacle otherwise but to be fair not every riff here functions in feature; The best parts of ‘Loss of Transcendence‘ tended to embrace this overblown vocal accost while stretching the possibilities of their sub-genre spread in service to the riff, such as the Zemial-coded pure heavy metal stride of “At the Summit of Consciousness” or the ever-shifting death metal leaning rattle through “Impervious Creation”.

While the production values applied to ‘Loss of Transcendence‘ are appropriately arcane yet largely unobscured for the black, death, and thrash metal informed style The Great Observer lead with their work shouldn’t be considered a plain throwback in the sense that ‘modern’ guitar techniques and atmosphere feed into a few key tracks along the way, most notably the bestial diversions of “The Great Observer” as well as closer/title track “Loss of Transcendence”. Likewise album artwork from bassist Claudio is exceptional in its invocation of theme to some degree but doesn’t feign easy retro points by leaning into the slapdash graphic design tropes of the late 80’s underground, instead granting an entire realm for the eye to wriggle across while listening; The only real gripe I have with this record is its momentum rarely yields, offering some relief from the barreling metal-and-punk galloping gait deployed through might’ve been choice beyond a brief interlude or two.

‘Loss of Transcendence‘ is a well-concieved and brilliantly stylized release which offers numerous skull ringing anthemic moments throughout its bulldozing heavy metal stride. The shouted, barked and riff-forward ride through The Great Observer‘s work arrives in admirable tradition as they endeavor to amplify the effect of early extreme metal unto greater forum, songs to rally dissenters as they go on shaking their fists throughout the hall. Otherwise I’ll emphasize this album’s likely appeal to fans of 80’s heavy metal as well as early manifestations of extreme metal still girded by thrash metal dynamism. A high recommendation.

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