To say Hellions had set some pretty high expectations for themselves with Opera Oblivia would …
As they’ve moved on from the uncomfortable experiences of the start of the year, Melbourne’s Ne Obliviscaris are proving that it takes more than one person to make a band. With their new release Urn, all past discrepancies are quickly forgotten as you’re submerged into an extended saga of reflective goth and melodic metal. For Ne Obliviscaris, it’s about the music.
Three studio albums into a colourful career and Ne Obliviscaris are proving with Urn that they’re at the pinnacle of creativity and dark imagination
Much like the band’s social impact away from the music, Urn is likely to split people down the middle, correlating with the split duality of sound—the classical tendencies grace the more explosive death rock in a dance of furious metal and more frilly clean stuff. With each of the releases six tracks carrying on beyond the six minute mark, the narrative and creative intention can at times feel wushu washy. Nevertheless, Ne Obliviscaris muster a rare skill in being able to draw in their listener into a captivating unknown.
Three studio albums into a colourful career and Ne Obliviscaris are proving with Urn that they’re at the pinnacle of creativity and dark imagination—Urn only leaves us wondering, with only the limits of their own imaginations to compete with, how Ne Obliviscaris will outdo themselves on the next album.
STANDOUT TRACKS: Intra Venus, Libera (Part II) – Ascent of Burning Moths
STICK THIS NEXT TO: Apocalyptica, Opeth, David Garrett