NE OBLIVISCARIS

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!

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.

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.

The album doesn't skip a beat with their choice of opener, "Tapestry of the Starless Abstract", a brutal assault with great vocals and relentless instrumentation [the surefire highlight for me]. There are some nice, higher pitch clean vocals throughout. The half-time groove approaching minute 3 was a certain notable part. It is thereafter that we get our first violin section. Beautiful stuff. All falls away to a serene, very classic acoustic arpeggiation. Hereafter, the drums are such a solid force. The clean vocals take the close. An excellent performance.

"Xenoflux" also wastes no time. Initially far more a straight delivery, around 2 minutes there is a really nice, really queer shift. Very effectively creepy showing from the violin here in the midsection... This was certainly deceivingly simplistic at the start. The composition falls away to a bass(?) arpeggio section over a sweet groove with a violin solo. A markedly melodic guitar solo closes things out underneath deathly growls. Awesome stuff. Next, our shortest track, "Of the Leper Butterflies", at just under 6 minutes, is a rapid ascension from relative minimalism. This is an interesting duet between clean and unclean vocals. Great groove over a relatively straightforward main riff. Yet another melodic guitar solo, even relatively clean (over acoustic guitar and softened bass), to close this one out.

"Forget Not", currently their second biggest song on Spotify, begins light on classical guitar and light cymbal clangs. The violinist, our clean vocalist, Tim Charles (I have to wonder their influences for the instrument), is excellent here. The instrumentation remains as the groove shifts. Gradual build here... Really good stuff. Honestly, one of the more straight compositions thus far, but it is just so well done. Then it's on to their top-played track, "And Plague Flowers the Kaleidoscope"... whatever that means haha. And as I said of the start, they really haven't skipped a beat throughout. Super consistent, and, if it hasn't been clear thus far, consistently excellent. This track really is no-nonsense. Straight ahead, though at a risk; I honestly feel it's therefore less interesting, and funny enough one of the weaker tracks (though still very good). Definitely one of the places where I definitely get the Opeth comparisons, by the way.

Differing in tone from all that came before, "As Icicles Fall" features clean vocals over straightforward, cleaner instrumentation. Charles has a really nice voice, seriously; a very, very capable vocalist. Once more, a slow build to heaviness and more brutality, but this is more a melodically-focused number. Not super exciting in the first half. Things do pick up, as mentioned, and there's a really really nice solo from Benjamin Baret on lead guitar, really an accomplished player. Another one that isn't quite 'highlight' material. Finally, we have "Of Petrichor Weaves Black Noise". A 'petrichor', as it were, is that pleasant smell you get after a much-needed rain. The more you know. We are right into the brutality after a moment of silence... Relentless. This track is more classically Extreme Metal, but features throughout a nice groove and more loveliness from Charles. Anyways, in tone and in composition, a solid track to close things out (especially when comparing it to the two before, those being the weakest of the bunch, in my opinion).

For my sins I have to go to Melbourne about once a month, and I see I need to keep an eye on their website and tie one of these trips in to catch these guys in concert, because if this album is anything to go by they are a force to be reckoned with. Each of the musicians is at the top of his game, and seems able to cope with any and all musical forms. Daniel Presland is a dab hand at powering the band from the back, and is full control of the double bass drum pedals, while guest bassist Robin Zielhorst has an incredibly warm and pronounced style (his impact is so strong that I do find it hard to understand why he isn't a full member of the band). Matt Klavins and Benjamin Baret provide the twin guitar attack, riffing of shredding as the needs prevails, although they can also go acoustic. This then leads the twin frontmen of Tim Charles and Xenoyr. The latter is in charge of the crushed larynx approach while Tim is a clean singer, who also adds violin, but often in a full out frontal attack with the guitars as opposed to something more gentle and melodic, although he can do that as well when required.

This is a consummate act, and one that has produced an incredibly complex album which proves (if it was required) that those who enjoy playing music loud enough to burst ear drums often also have a great deal of musical talent and make their own rules. This isn't gently straddling the lines between quite diverse genres, but is stamping all over them and proving that music is whatever the purveyor wishes it to be. There will be some who say that this is too progressive for their extreme metal tastes, while others will say that the guitars are too much and the drum attack is upsetting them. Me, I think it is bloody excellent and look forward to hearing a great deal more from them.

Ne Obliviscaris does have something of a buzz around them, and the word is that they tend to deviate from most common norms in the metal environment that is their home. That they are innovative, creative and perhaps even non-conformist as a general rule. For me they do indeed come across as one of those bands that have tossed the book of rules into a nearby fire and chosen to go their very own way, for better as well as for worse.

This isn't a band that will appeal to traditionalists. They are far too progressive and sophisticated for that for starters, and the fact that the shortest track here that isn't a standalone or dual part epic clocks in at a bit more than seven and a half minutes does in itself make a statement I'd say.

The music itself is complex and quirky, filled with small details here and there to complement the driving and dominant elements. Tight riff textures with a light tone and something of an indie or alternative flair to them, but explored in extreme metal intensity, is one of the calling cards of the band. They will include their fair share of slower, darker toned rich guitar riff and impact riffs as well as the staccato, stomping and intense riffs you expect from a band with a foot inside the extreme metal spectrum too, but there's also room for delicate wandering and plucked acoustic guitars, both as a dominant instrument details in gentler phases of the compositions as well as a gentle, underlying supportive one on the harder hitting and more intense passages. Hammering, intense drum patterns alternate with more intricate, quirkier and slower paced rhythms as needed, and the use of alternating growls and melodic lead vocals fits these landscapes very well indeed. With, unless I'm much mistaken, a slight tendency for the instrument support of the growls to be darker and rougher than for the clean and melodic vocals. And there's the violin of course, used to add a melancholic timbre here, a dramatic solo there, and chaotic, twisted and distorted sounds and timbres both here and there. That we are treated to some alternating guitar and violin solo spots is a nice bonus feature.

The compositions are mainly structurally complex affairs, with numerous changes and alterations in pace, tone and intensity. From aggressive extreme metal and black metal to delicate wisps of what might be described as chamber music. Some sections appears to be closer to progressive rock in expression, others progressive metal, some of the acoustic driven sections have something of a folk music undercurrent to them as well I guess, but these are all parts of a greater extreme metal totality, adding flavor and variation to this core foundation of the band.

Those generally fond of extreme metal bands that are creative, sophisticated and inclusive in a progressive context should find plenty to enjoy on this third album by Ne Obliviscaris. This is intense, dramatic music, with interludes and transitions of a gentler nature as a fixed feature, and also an album that documents how the sound of the violin fits perfectly also in extreme metal. An album worth investigating for those who are familiar with the description progressive extreme metal and tend to enjoy music described in such a manner.

Australia's NeO (Ne Obliviscaris) have become quite a big name in their respective genre. Opeth's legacy is certainly strong with these guys, but the instrumentation and aesthetics are completely different. NeO brings a lot of new things to the table - most certainly the violin, which sometimes creates hauntingly beautiful melodies over heavy guitar riffing. The music underneath the melodies change often and in very surprisingly ways. This is one of the reasons it took me long to get into this record as well. Vocals used here are both clean and harsh, often joining together to build up a climax.

The album opens with the very black metallish 'Tapestry of Starless Abstract' which goes through many sections and different moods, finally setting into calm section in the later stages. This formula is used quite often in this record.

'Xenoflux' is the heaviest song on the album, going through a few extremely good riffs in the beginning while going to a very heavy growling section. The bass climax is quite wonderful here.

'Of the Leper Butteflies' is a shorter song. Not very memorable during first playthroughs but it's still quite a good track in the end. It goes through a wonderful bass tapping/melody section where the guitar provides nice support to the bass riffing and violin is used as a nice staccatto instrument in the backround. Very good songwriting here! The album centerpiece 'Forget Not' is a gorgeous piece of progressive metal, featuring clean vocal chants and wonderful violin work by Tim Charles. This is, along with 'Of Petrichor Weaves Black Noise', my favourite track.

'As Isicles Falls' is most certainly the weakest song on the album and considering the lenght of this debut, it should have been left out. I always skip this one as there is nothing exceptional here compared to the rest of the songs.

'Of Petrichor Weaves Black Noise' is a superb closer that creates wonderful athmosphere where the listener can sink into. Lot's of wonderful riffs and riff variation always progressing to somewhere different.

This album requires quite many listens to appreciate it fully. Many tracks feel disjointed at first and the growls feel often unnecessary. However the end result is very satisfactory and original piece of progressive metal that IMO deserves this high rating. This is much better than the next album (unfortunately). The drumming is also the weakest link of this album. Too much ridiculous double kick runs that often ruin the mood of a good section. A good drummer knows when to restrain himself and this album doesn't showcase anything other than his fast playing ability.

In any case, they have been re-recorded for the band's limited edition Sarabande to Nihil EP (one of a pair of limited-edition EPs they handed out to supporters of their crowd funded tour campaign), and they sound great. It's not entirely clear why the band chose not to release these the first time around; they're not as lengthy as the tracks on The Aurora Veil, but they're hardly embarrassing throwaways. The quality of the material may have been perceived as slightly less than the three tracks that did make the cut, which isn't exactly untrue, but when one considers the overwhelming quality of the band's demo, this really isn't a fair comparison to make.

As with Hiraeth, the recording quality here is great, although there is once again clipping in the mastering. And as with Hiraeth, this will probably be impossible to locate in physical form, but interested fans are urged to track down digital versions. Given the paucity of this band's output to date, every little bit of new material is a revelation, and what's here doesn't disappoint.

If I had to rate my top songs from them it would be: (in this order)

Forget Not Xenoflux Painters of the Tempest Tapestry of the Abstract

Citadel is a much shorter album than the previous and not as good. I see people on the internet saying Citadel is better than Portal Of I, and I have to disagree. That's not to say it's not good, it's still a 4 to me. "Portal" was just that damn good.

Citadel has only a few stand out parts in my opinion. The last 5 minutes of Painters, and 4:00 and 9:00 of "Devour Me, Colossus".

Portal had the middle of Tapestry, the last half of Xenoflux, and the entirety of Forget Not that was excellent.

I saw someone compliment their choice to make this new album shorter than Portal. Why? Portal was 70 minutes and great the entire time. Why would they want to shorten it?

I guess that's all I have to say.