Obsidian Vortex – The Lair (Album Review)

Obsidian Vortex has released a second Album: The Lair, which is a shorter, 8 track atmospheric record. His other works, Lost in the Void (2025), is a solid electronic album which was created in parallel to this one. Both albums have synergy that trademark Obsidian Vortex’s sound: deep, dark, drone based tracks that don’t scream attention, and instead invite you to relax into another headspace altogether. Unlike Lost in the Void, The Lair has utilized acoustic instrumentation, with guitar and male vocals particularly highlighted to achieve the same brooding but calming mood, synonymous with Obsidian Vortex’s sound. It is an accomplished, considered and atmospheric record that is highly evocative.

Let’s look at The Lair track by track:

The album opens with the first track, Borrowed Time: nice acoustic guitar opening with plenty of dark tones in it and nice high end ring left in, followed by some low smooth male vocal choral pads and that characteristically low-fi percussion in the back. This track presents the intent, nature and feel for the album nicely.

The vocal layers build up against the minor chord and acoustic guitar hook. Then by 1:32 there is a welcome bass move to give some colour to the track. This is a nice contrast between acoustic and electronic elements. The feel is dark, ominous, but meditative. There is good wet reverb on the vocals, but I think Obsidian Vortex could start to go further with using vocals percussively (delays and tremelo can do this) for added texture. There is something almost gothic about the vocals, he could put an even wetter reverb in and make the listener feel they are standing in a cathedral in the dark.

Obsidian Vortex again masters the long, gentle fade outs, and this track uses it well. Of note, the fade out is slower for the percussive pink noise, which is a nice, thoughtful touch.

Track 2 is called Broken Wings. I note the very nice open string drop tuning on the acoustic guitar, which allows maximum beautiful ringing from the strings: Guitarists will enjoy this. Its is boosted by a very subby bass, which just thickens the sound in the way a sub bass is meant to. Another chorus of male vocals backing, this time some higher notes, and the layers move at different times to create interest and pull the ear from side to side (panned in headphones).

Again, this track uses percussion with sensitivity, only adding it far back in the mix, where it really adds character. This track has lyrics in it, which shows a lovely smooth higher male vocal under a long wet reverb. This offers a nice focus point to the track, and post the lyrical section, there is satisfying ebb- or tension release- to the song, which eventually fades the track out. Nice energy build and release in this track. I was waiting for a little more characteristic vocal track structure, but Obsidian Vortex shows restraint. And I think this minimalism is right.

Track 3 is Soul Paralysis, which starts with loads of lush low choral layers. Very powerful! This is the sort of thing that the BBC show, The Traitors, should be using! The low and close harmonies create a warm dissonance between notes, which gives the illusion of loads of space and a slight beating effect (intentional, not phasing). Again, this track has a lyrical component by a male voice. The main vocal is a little low in the mix against the number and magnitude of the backing vocals.  It’s a lot of vocals to balance here, I’d favour more volume automation on the backing vocals to create more space. This track is well placed in the record, with even more sung components here than in previous tracks. Soul Paralysis is based on a drone again, I like some of the natural ringing on the guitar that has been left in, so give it some dynamism. The backing vocals are thick and heavy throughout. They create a constant in the track which gives that meditative state again, but it would be nice to bring them out and in for more contrast perhaps.

Track 4: Godless Fog reminds me of the opening of a Metallica song (as a guitarist, this is a good thing). Again, the guitar is in the front of the mix, and whilst its beautiful with the cello pad, I think it needs pushing back for the vocals (just a few decibels). I think the introduction of the bass in this song works brilliantly. It’s a ghostly rumble into the mix that goes through your spine and blows in and out. The verses suggest really good prosody, with words and tuning exactly where I would want them. The acoustic guitar solo at 3:33 has a bit too much attack on the first note. That B string is a little buzzy too. A corrective EQ could have remedied that. I like that this song offers a slowing down at the end. Really nice ending: showing breadth of techniques other than the fade out.

The Dwelling (track 5) also opens with an offering of a beautiful drop D tuned acoustic guitar, with a slightly different vibe to the open chord. I really enjoyed the reversed guitar elements! This offers a percussive layer, but shows a good level of creativity and application. This is an excellent way to add texture to a track. I really like the more relaxed vibe of this song, it feels a little lighter in mood. I could see 90’s Madonna singing over this. Its offers a really nice full sound with plenty of warm midrange sounds and a nice motif from the guitar again. It also offers a bit more chordal movement than previous tracks. This is a favourite track for the excellent mid-range warmth and layers.

All We Have Is Silence is track 6. It opens with an Em-G fingerpicking setup. This track offers a single vocal with lyrics, which is a good contrast and stays forward in the mix. So far, this feels very acoustic. The familiar subby bass and filtered percussion comes in, and as expected, work really well. The subby bass however, is VERY low and might get a little lost. This track has a nice folky feel, and the singer has a naturally classical folky voice. You get to hear a bit more of his higher range in this track, which is held nicely, but could take a little more compression to balance with the lower quieter verses. I think this track, being more folky, could take the listener elsewhere with more chord use. (its literally just the two chords, but Folk is the music of journeys)

Penultimately, we have The Wane. Lots of discordant sounds here, vocally and on acoustic guitar. The effect is a lot of tension, which I like. The verse comes in surprisingly tunefully, holding the track into a clear, accessible song, regardless of the wash of dark tension below it. This is a sonically very interesting track, taking a major/minor feel. Experimental in some ways, but with a Crowded House style verse that is incredibly accessible and singable.

These are not tracks to sing along to; they are still tracks that transform you into another state of being. But the vocals do offer a central point to help map the emotion against. I think this tension needs a chordal resolution. The bassline starts to offer some clarity, but the ear would appreciate a move into a clear major or minor chord to mop up the muddy sounds into something clear. Without it, its potentially a minute too long.

Ritual is the final track. Again, opening with a lovely drop D acoustic guitar chord. I like the 4 to the floor kick pedal against it: this has a good up-tempo energy. I like the bass slides: first time I’m aware of its use. There’s really nice mixing of vocals gently into this track. Again, it ends with a slowing down of the track rather than a fade out.

I really like this record: it offers a backdrop to the Rocky Mountains, bleak windswept moorlands and long country lane drives. If you want to unplug from the world and escape to a dark, warm place in your mind, then The Lair is the album to play. The use of acoustic instruments means the tracks have more depth and are not boxed in by a quantised midi feel. Here, midi is an enhancer, used sensitively to elevate the tracks. The whole album has a better sonic range for me: the warmth of the mid range from the guitar holds the highly filtered percussion, and deep subby bass, into a full spectrum enjoyment.

Vortex has many facets to his sound, and he is the culmination (and the most powerful) when he combines both his EDM and acoustic instrumental skills together: this is his unique fingerprint of skills.

Obsidian Vortex can keep his sound in its current place, and he will find his audience (And Sync, and plalists- ‘focus’ ones in particular). I would love to hear future work in collaboration with more vocalists, being playful with blending his EDM and acoustic skills together, and scaffolding this through more contrast in song structure: take the listener on a more dynamic journey in structured sections, sonic contrasts and changes. Whatever he does next, keep the haunting vocals and drop tuned guitar!

SCORE/Good to Excellent: There is just a little room for growth in song structure and boldness to be gained in collaboration and experimentation. However, this is really well produced, considered and thoughtful record that evokes a clear atmosphere for its listener. Really well executed.  

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