Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Related Stories ...

Most Popular

Reader's Picks

Top Recommendations

A short list of Dallas's most popular hot spots.
user content provided by: LikeMe.net & Dallas Observer

National Features >

  • City Pages

    Michele Bachmann, Unmuzzled

    You don't need to read Sarah Palin's book to hear the ravings of a mad woman.

    By Matt Snyders

  • Miami New Times

    Pimp Daddy

    The rise and fall of a chubby sex-cult leader.

    By Natalie O'Neill

  • Riverfront Times

    Babe 'n' Arms

    Tom was a hot-tempered cross-dresser with a garage full of guns--and then he became Rachel.

    By Nicholas Phillips

Om

Pilgrimage (Southern Lord Records)

Share

  • rss

By Ned Raggett

Published on October 24, 2007 at 10:23am

To think of a pilgrimage is to think of a progression, or even a procession—a steady, continuing path to somewhere over the horizon, even if it's a road to nowhere. Pilgrimage is a very apt title for the third effort by Om, the duo of Al Cisneros and Chris Haikus, who once formed the rhythm section of the band Sleep, but who have long since made their own specific mark. With a focused obsessiveness, Om taps into the sense of centuries-old mystery and murk that made Black Sabbath seem like a bolt from beyond then and now, Cisneros' keening wail now just as easily given over to murmuring, as he does on the title track. When in full rage—and armed with a killer title like "Unitive Knowledge of the Godhead"—that same sort of pinpoint aim is also evident, which is one key reason why Om not only succeeds, but stands out. Drummer Haikus and bassist Cisneros—guitars never have been part of Om's equation—relentlessly avoid the type of indulgence that punk rock originally claimed to hate, but with a totally different goal in mind, favoring simple-but-not-stupid mantras (the group's name has always been a clear statement of intent) that steadily unwind no matter the decibel level over three-chord thrash. Cisneros' lyrical standby of using involved theological and historical terms to help increase the air of invocation and mystery in its original sense doesn't fail him here either. Songs may subtly shift in tempo, but never in drive, as Om embraces evolving relentless flow, creating sludge rock like white-hot, raw lava endlessly pouring down a mountainside.