EXUL

NE OBLIVISCARIS has been one of the most revered progressive death metal bands of the last decade and although the band and i started out on a bad note, i have completely had a turn around moment in recent months after revisiting the band's phenomenal debut "Portal of I" which upon first listening about a decade ago seemed to leave me cold and unappreciative of the subtle intricacies that constituted its woven musical tapestry. Progressive death metal is a fragile beast that more often falls flat on its face than gracefully construct the proper kingdom where bombastic death metal excesses commingle with progressive rock pomp. When it's done well though, nothing is better. Once i discovered the error of my ways i have gained a much deeper appreciation for this group of Aussies on the cutting edge of modern day prog metal.

Little did i realize a few months ago that NE OBLIVISCARIS was close to releasing the newest installment of their canon in the form of the fourth album EXUL arriving six years after the band's last full-length "Urn" which seemed to find the band waning in its creative mojo and dipping in fan appreciation. Well EXUL seems to be rocketing the band back into the spotlight as prog metal's most creative modern day band and it's not really difficult to understand why this is the case. After all this extreme metal band that started out somewhere between black and death metal with progressive excursions has slowly shapeshfited itself into a tighter unit and while the black metal aspects have been primarily extinguished, these Aussies have veered into the world of classical to craft some mighty symphonic backings for their aggressive rampages bathed in thematic prose.

One of the key elements that has always allowed NE OBLIVISCARIS to stand out in the world of extreme metal is the use of the violin provided by Tim Charles and although strings have also helped carve out careers for doom metal bands such as My Dying Bride and Evoken, violins have not become a common staple in death metal but then again NE OBLIVISCARIS can hardly be considered a death metal band with its genre bending antics that have resulted in a sound that is unlike any other. With lush pastoral backings and excursions into true symphonic splendor, NE OBLIVISCARIS has tamed things down considerably since its raucous debut and steered things into a more focused easier-on-the-ears endeavor. A boon for those not acclimated to the extremes of harsh metal brashness and a bane to those who thrive on the most of extreme music of all.

One of the main differences between EXUL and the first two albums (somehow i missed "Urn") is a much more pronounced addition of clean vocals that often act as the sole lyrical delivery as well as providing an all male beauty and beast effect of clean vs guttural growls. This is particularly dominant on the two part "Misericorde" which adds up to over 17 minutes of the album's near 52-minute playing time. Unlike the debut the music is much more streamlined and less chaotic that meaning fewer hairpin turns and the experimental unorthodoxies have been tamped down big time. The focus on extended composiitons in the sense of classic symphonic prog is more the modus operandi. In many ways EXUL is a more polished and sanitized stylistic approach with a clear aim for some crossover success but hardcore metalheads need not worry. Although tamped down a few notches, the extreme metal effect is still rife with ferocious guitar riffs and growly growls as fertile as an alley cat in heat.

While personally i prefer the band's first two releases i cannot say that this newest shift in stylistic approach is an unpleasant one at all. Sure it seems there are more clean vocals than anyone thought possible but lead vocalist Xenoyr proves to be quite competent as a metal crooner as he is hacking his lungs out. Overall not a bad update to the NE OBLIVISCARIS even if EXUL fails to match the wow factor of the band's unbeatable classic debut "Portal Of I." The best part about EXUL is that it excels on the progressive side of the band's equation with thoughtful compositional fortitude trumping the lack of extreme metal dominance. Looks like this is going to be another huge hit for the band.

If there is one recent prog metal act that is the true definition of quality over quantity, it is most certainly Ne Obliviscaris. While they do not release a ton of albums, they are certainly a band to come out of the wood works with some high class prog metal stuff, with 3/4ths of their discography being some albums I consider to be masterpieces. Even what I consider to be their "worst" record, Urn, is still a fantastic album that bands bigger than them would dream of having. If anything really, the fact they can make another hit and run for the fourth time with this year's release of Exul just shows how monstrous this band is, even when they've only released four albums.

Unlike their past three records, Exul is a bit different, going slightly away from the melodic extreme metal ideals that was found on Citadel and Urn, to favor a more symphonic death metal approach, giving a bit more attention on the more beautiful and epic nature the band, specifically Tim Charles, brings out for the band. Now, do not fret, this doesn't mean they go a sort of Coma Ecliptic route, and thus have a lot less aggressiveness in the wake, in fact this is still extremely powerful as always, but it holds a different kind of punch for me, and man is it a sweet punch up from their previous albums.

All the music is still strong as ever, Tim's violins and vocals are like bread and butter for my ears, and the prominence of Martino's bass is just chocolate and cheese for me. I think what I just truly adore about this album is just the instrumentation, which is a constant in all Ne Obliviscaris records because they never really stop being incredibly well put together. The compositions on this album, especially with the higher focus on Tim's violins does give this a unique spin of things though, but even then the band manages to mold themselves into this sublime output of musicianship to me that the changes they put forth only results in good luck.

Not only that, but GOOD GOD this is some of the best drumming Dan has put out for the band since Citadel, heck maybe even better than that near perfect record. You can really tell that these musicians, even though they were masters since the debut record, still improved dramatically and thus became even better than what they were 10+ years ago, which is just crazy to me. They really age like a fine wine, that I bet in the next 20 years will still make amazing music even past their prime. The fact this band isn't in some kind of hall of fame, or just generally way more popular is a crime to me because they are certainly some amazing people working on some amazing music.

Honestly, if there is one thing I hate about the record, it is the fact that it makes me want more, so much more of Ne Obliviscaris, but to be fair, if an album makes me feel that way then chances are I think it is fully deserving of the masterpiece status.

Some highlights for the album have to be the two part Misericorde suite, and Graal. Graal especially because it has this one part I really like where the bass gets high pitched and starts to play this little tune in tandem to the symphonics and drums, which is just ear candy for me.

Honestly, front to back, this album is stellar. If there is a band that I cannot recommend enough, it'd have to be this one. Constantly amazing, constantly grand and progressive, and honestly the kings of prog metal this year for me. Go check out Exul, your time will not be wasted for not even a sliver of a nanosecond.

One of Australia's most popular and ground-breaking Metal bands is back with another album straddling the fence between black metal and symphonic prog.

1. "Equus" (12:13) Danny Carey (TOOL)-like drumming opens this before being joined by bass, guitars, and violin. Tim Charles has a GREAT voice--one that compares to all of the greats. And the play of bassist Martino Garattoni is moving'! The music here is tremendously engaging and melodic, smoothed out by the wonderful presence and arrangements of the orchestral instruments, this is a song that I could listen to quite happily, quite regularly. I love the way Tim's screeching violin plays off of Xenoyr's death metal growls, sometimes serving as a mirror of Xenoyr's passion, sometimes serving as a calming counterbalance. The electric guitar solo in the tenth and eleventh minutes is amazing: it seems to bridge that gap between technical metal shredding and old-fashioned bluesy prog styles. Awesome! I don't think I'm going to hear many songs better than this one this year--especially coming from the metal persuasion; not even the "harsh" vocals can disturb or dissuade me. My favorite song on the album. (25/25)

2. "Misericorde I - As the Flesh Falls" (7:33) opens with an early-Opeth-like wall of sound with Xenoyr screaling away over the first minute. The drummer and bass player are going machine gun crazy as Tim Charles joins in with his "clean" vocals and then in the third minute when Tim rosins up his bow for some pyrotechnics. Great dynamics. Amazing bass and drum play--especially in the foot pedal department. Pace shift in the fifth minute as Xenoyr takes the lead back precedes a spacious patch around the five-minute mark in which Tim's violin adds to the percussive sparsity. By the end of the sixth minute we've ramped back up to full power, this time with Tim singing the lead with those long notes. The strings again contribute hugely to this section, making it quite melodic and engaging despite the wild staccato of the drums and guitars and the vocals. Around the 7:30 mark all metal aspects drop out leaving strings and piano to establish a slow-paced "Great Gig in the Sky"/cabaret/lounge sound. Stéphane Grappeli anyone? A top three song. (14/15) 3. "Misericorde II - Anatomy of Quiescence" (9:22) The classical chamber motif established at the end of Misericorde I continues, offering Tim a chance to show a different side of his violin prowess. (Do I hear some "Larks Ascending" riffs in there?) Bluesy drums, bass, and guitar slowly join in, slowly filling the soundscape before launching the bluesy-rock guitar machinations of Benjamin Baret in the third minute. The rest of the band ramps up into metal ballad land as Ben's STEVE VAI-like guitar shredding begins to send sparks and shrapnel out of my speakers. Then a pensive, militaristic passage establishes itself, plodding irresolutely along as the strings play like their on the deck of the sinking Olympic (Oops! I mean "Titanic"). This music is so accessible, so engaging that I'm quite reminded of the spell that FIELDS OF THE NEPHILIM creates on me. Another song that surprises and wins me over; I'm really hard-pressed to find any faults within this song. Another top three song. (19.5/20)

4. "Suspyre" (10:09) the mood of the music here is quite well matched to the undead topic indicated by the title--even when the classical guitar palette is introduced at the 4:30 mark. The guitar sound thereafter sounds a bit dated--like 1990s Death or VOIVOD--and then this section is transitioned into the monster-like growl section of Xenoyr--which is capped off with some absolutely demonic violin play. Still not a fan of this guitar sound used beneath Tim's singing about (im)mortality. Bass and drums are great, however, and Tim's next violin solo--paired with another great, if brief guitar solo by Benjamin Baret--are great; they lead perfectly into the chaotic final crescendo. (17.5/20)

5. "Graal" (8:53) more metal that sounds so much like the dark/black metal music that flourished in the 1990s--except for Tim Charles' "clean" vocals--and the frenetic violin play (which adds so much). A shift in the music at the end of the third minute helps to usher in a spacious acoustic guitar passage over which bass player Martino Garattoni gets to show off his chops. As screaching lead guitar cuts Tim and Martino off, the full band reignites their ignition and quickly moves into overdrive, eventually returning to that 1990s death metal sound as Xenoyr screamowls away. Re-enter Ben and we get some more very 1990s-familiar technical metal shredding. Nice interplay between the insidious bashing of the metal music coming from the rhythm section while Tim and the other strings players play their own classical thing at the same time. Cool finish! (17.75/20)

6. "Anhedonia" (3:43) brings the album to a close with a rather stark, Arabian/desert religious feel as Tim's wordless voice soars around the desert air while piano chords keep we observers grounded. Shankar/Vaughan Williams like violin also plays a major role first soaring as Tim's voice had done--even alongside Tim's vocalise--but then closing out the song with some frenzied play within a loose weave of other strings keening away. (9/10)

Total Time 51:53

These songs are so accessible, so engaging (I think due to the "clean" vocals, violins and other symphonic orchestral elements)--despite the presence of "harsh" death metal vocal growls--that I'm wont to call this "Easy Listening Prog Metal" or, at least, Symphonic Metal--especially with the opening three songs. Tim Charles' voice--doing the "clean" vocals--is extraordinary: he can hold his notes for so long!

A/five stars; a masterpiece of progressive rock music and perhaps my highest rated and favorite metal album of all- time! Definitely a must to check out for any and all prog lovers!