When an album clocks in at close to 75 minutes and is a mere eight songs, one gets the impression that the artist is in no hurry to make his mark. But this album is the final part of the musician's "Dante Trilogy" so it does seem logical to be so epic. Vidna Obmana begins this odyssey with... [+] Expand

When an album clocks in at close to 75 minutes and is a mere eight songs, one gets the impression that the artist is in no hurry to make his mark. But this album is the final part of the musician's "Dante Trilogy" so it does seem logical to be so epic. Vidna Obmana begins this odyssey with "Canto," which is more in line with a dark country dirge that David Allan Coe might have performed in his heyday. The album shifts gears with an industrial-meets-ambient "Bloodshift," something Trent Reznor might pull off but few others. Dark and mysterious, Vidna Obmana lets the almost hypnotic groove settle in before adding layers of subtle yet important noise. The song comes down near the homestretch, bringing to mind brief moments of Pink Floyd's "Echoes." The ensuing "Torment and Resolution" evolves a bit quicker and creates instant tension as sounds roll over each other above a drumbeat that slowly creeps in. But unlike the previous song, there is initially something bubbling under the surface that never breaks through. Unfortunately, it results in more atmosphere than substance, resembling "Frankie's House" by Jeff Beck at times. "Sinner's Tongue" is more electro-centric in the early portions, recalling the start of perhaps a great Depeche Mode or Moby number. The centerpiece is the lengthy "The Virtual Insomnia," a 13-minute song which starts off promising as the electro-ambient tone gives way to a dominant percussion. Unfortunately it takes much too long to get off the ground and comes across as a spoiled or missed opportunity. It tends to take off around the nine-minute mark like a Radiohead instrumental, but it's too little too late. "Impious Rising" tends to stand out more for its grander, fuller sound with Vidna Obmana getting to the point far quicker than on other songs. It works thanks to its orchestral touch, not just relying on textures and haunting noises. The title track seems fitting and is the first noticeable bit of guitar, something that is sorely lacking overall. It's a decent album but only for die-hard dark ambient fans. ~ Jason MacNeil, All Music Guide [-] Collapse

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