Obsidian - Baths
Metascore
76

Generally favorable reviews - based on 22 Critics

Critic score distribution:
  1. Positive: 19 out of 22
  2. Negative: 0 out of 22
  1. May 28, 2013
    86
    Throughout, the songs on Obsidian are physical in a literal sense, mimicking the human motion of the characters described therein.
  2. Jul 23, 2013
    90
    Obsidian makes for a totally immersive plunge and, depending on where you are with your own head when you listen, either a welcome gulp of fresh air in recognition or a chance to hold your breath and dive deeply into life’s darker materials until you have to come back up again.
  3. May 24, 2013
    90
    Obsidian is a gorgeous suite of electronic pop songs that will draw you in and stay with you for days on end, and somehow it sounds like Baths more than Cerulean ever did.
  4. May 31, 2013
    90
    By blending the conceptual drive of Post-Foetus and the organic songwriting of Baths, Wiesenfeld has delivered on the promise of Cerulean and found his place among contemporaneous pop experimenters like Grimes and Autre Ne Veut.
  5. 83
    As an entity, Obsidian is neither more nor less accessible than Cerulean. Ultimately, your mood as a listener--and perhaps the weather--will dictate how often you’ll return to Obsidian‘s bleak and beautiful world.
User Score
8.0

Generally favorable reviews- based on 37 Ratings

User score distribution:
  1. Positive: 9 out of 10
  2. Negative: 0 out of 10
  1. May 29, 2013
    10
    Wow!!! What a wonderful, dark record. To be honest I didn't expect this to be this good, but it is indeed flawless, might actually be one ofWow!!! What a wonderful, dark record. To be honest I didn't expect this to be this good, but it is indeed flawless, might actually be one of the best albums I heard this year. "No Eyes" is breathtaking. Full Review »
  2. Jun 21, 2013
    7
    Bath’s (technically) third effort, Obsidian, grants listeners with a rare vantage point to witness the growth of an artist in both their musicBath’s (technically) third effort, Obsidian, grants listeners with a rare vantage point to witness the growth of an artist in both their music and personal lives. After releasing what is essentially an album of B-sides during a 2011 tour, Will Wiesenfeld, the mind and man behind Baths, has graced us with the supremely dark and intrinsically real album the product of time spent penning while notably ill. You can probably take a hint from the album cover which features what appears to be a coal miner holding another, in grief.

    In this release, we see a stray from the more poppy glitch beats of Cerulean, and venture into darkness filled with wandering piano notes, and a combination of synthesized and actual percussion instruments this evolution was as largely brought about because of Wiesenfeld’s desire to play with a full band, as it was because of his mental or emotional state during sickness. It’s evident from the very first track, “Worsening.” The lyrics begin, whispered, “Birth was like a fat black tongue Dripping tar and dung and dye Slowly into my eyes I might walk upright But then again I still might try to die…” The refrain is just as unsettling, with Wiesenfeld building to a wail, “Where is God when you hate him most When the mouths in the Earth come to bite at my robes Hell that sits below, of you would do well to bellow At the cold, the lifeless, the worsening souls.” The sounds are fleeting, and the listener feels a sense of despair, but somehow is proud of it. It’s an odd journey listening to this song, to be sure, and I’d say that’s a pretty apt description for the following 9 songs as well.

    Read more http://www.recomedia.net/music/baths-obsidian-review/
    Full Review »
  3. Jun 6, 2013
    10
    This album is truly a treat. I had high expectations for Wiesenfield as I adored Cerulean. He truly outdoes himself. Obsidian is filled withThis album is truly a treat. I had high expectations for Wiesenfield as I adored Cerulean. He truly outdoes himself. Obsidian is filled with wonderful melodies (see "Ironworks"), off beat feels (see "No Past Lives") and gruesomely personal lyrics ("No Eyes," "Incompatible"). Not only has this album been great as a stand alone masterpiece, but it fits perfectly into music today. It contains universal themes about despair, love, and pain. With hope, this glorious album is not the creative peak for the endlessly inventive 24-year-old, but if it is he has given us the Album of the Year. There is no music like this today. It is original, emotional, dark, twisted, and beautiful. Thank You Mr. Wiesenfield, thank you. Full Review »