Israeli prog exponents Obsidian Tide make a mighty noise. That noise becomes even mightier when you consider they are only a trio in number; somehow they create ocean sized, well, crescendos on their new album time and again, threatening to swamp the listener in the sheer amount of sound and light they create.

That said, you as a listener will never feel overwhelmed by what’s going on as Obsidian Tide recognise the value of taking the foot off of the pedal every now and then. In fact I can’t think of anyone, save Opeth in their mid career pomp maybe, who value the quiet as much as the loud quite so well as Obsidian Tide.

Over the course of seven songs the band deploy this superior grasp of dynamics time and again, adding little flashes of Middle Eastern promise here and there but for the most part playing things pretty straight to deliver one of the most thoughtful yet hard hitting prog albums you’ll hear all year.

Guitarist Oz Avneya sings the clean vocal parts, bringing a bright, soulful tone to the table which is more than counterbalanced by bassist Shachar Bieber, whose from-the-depths roars keep things nicely rooted in heaviness. All three members – the pair out front are joined by drummer/programmer Erez Nadler – share a deftness of touch, even during the heaviest moments, that allows them to change things up on a dime; however this isn’t complex prog produced merely to show how ‘clever’ the participants are, with the song always taking precedence over performance. And in songs like opener Clandestine Calamaties and the four part magnum opus The Field Of Reeds which closes the album these guys have some pretty impressive songs in the armoury.

Overall this is very impressive stuff, and certainly worthy of some time and attention if intelligent, well-made music is your thing.

The Grand Crescendo releases on September 29th.