Scoredatura - Honest Oblivion

Last year I had the pleasure and honor to review Scoredatura’s debut album “Tense.” Here we are with their new effort named “Honest Oblivion.” The first impression is that “Honest Oblivion” goes easyly on listening, I mean, songs go on in a smoother way. They are quite linear and the guitarists are shreading a bit more and the bass is more present.

In “Honest Oblivion” the guys are technically doing more difficult stuff. The themes are more elaborated, as I said, guitarists are shreading more. In terms of rhythm, “Honest Oblivion” is groovier than “Tense,” this time not only the drums, but the guitars are using more countertime themes. Just check “Big Blind” out. There are two grateful surprises: the beautiful keyboard tunes in “Big Blind” and “Nae” and the complex atmosphere in “Must Just,” which has a great bass line full of distortion taking the lead and guiding the way and a very creative bass drums pedal technique work.

Listening to “Honest Oblivion” did not make me remember the good old influences I noticed in “Tense.” Scoredatura tried some different musical solutions here, I mean, they chose to contrast a funkier bass with some linear guitars in some songs to do the opposite in other ones. This mix of rhythm is what makes “Honest Oblivion” so different from the previous effort. “Honest Oblivion” is a step ahead in terms of rhythm section. “Asilon,” a long track with seven minutes, starts with a modern bass line and a shy guitar. As long as the song goes on, the guitar and the drums go free to do what they do best. Here we have again the stapler Scoredatura’s drum lines. The guy is a killer doing countertimes.

Scoredatura were bolder in “Honest Oblivion” in terms of effects and rhythm. They tried some experiences to embellish their songs and it did go well with a nice outcome. So, long live Scoredatura and their instrumental proposal!

Ah, still having trouble labeling them.

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