Skip to main content

ALBUM REVIEW: "Urn" by Ne Obliviscaris

   I really like Ne Obliviscaris. Portal of I and Citadel are two of my favourite extreme metal albums of the last 10 years, and both get regular play time. Given this, it's no surprise that I like Urn. Do I love it? Not really. At this stage Ne Obliviscaris have written such a volume of their winding, gothic sounding compositions that these songs unfortunately have the wow factor that their previous material had when I first heard it. I never thought I would say this, but Urn sounds exactly how I thought it would, and for Ne Obliviscaris this is opposite to the desired effect. I've talked about the three album rule before, and while pumping out three of the exact same album renders albums like In Hearts Wake's Ark and The Amity Affliction's This Could Be Heartbreak near unlistenable, the sheer talent and passion on show throughout Urn allows it to well and truly dodge that mire. It's just not as exciting and mysterious as I found their previous work. Having said that, if you've never heard this band before I have no doubt it will blow your mind, because all the NeO trademarks are still here. For me though, as an initiated NeO fan, there just weren't enough fresh ideas to differentiate it from essentially a Citadel 2.0.


   Favourite Tracks: Libera and Urn

   Least Favourite Track: Intra Venus


   Rating: B

Comments

Popular posts from this blog

NOSTALGIA PICK #3: "The Glow Pt. 2" and "Mount Eerie" by The Microphones

   There aren't many artists that have been making consistently exciting music for as long as Phil Elverum has been under his various musical pseudonyms, the most notable being The Microphones and Mount Eerie, the latter being the second incarnation after The Microphones' Mount Eerie.  From experimental beginnings to rugged indie-folk to what was essentially Phil's black metal album in Black Wooden Ceiling  and back again, nothing he has done has felt like a re-tread of what had come before, but somehow he has managed to maintain an instantly recognisable sonic fingerprint across all his projects.    For me the peak moments in his expansive discography come in the form of 2001's The Glow Pt. 2 and 2003's Mount Eerie .      A saw an exhibition at the Museum of Contemporary Art in Sydney showing the work of Japanese artist Tatsuo Miyajima, which was a series of installations ruminating on life and death and the cycle it forms. All of the in...

1 YEAR LATER: "22, A Million" by Bon Iver

   Bon Iver's third studio album turns 1 in about a week (where did that year go?), so I thought it would be interesting to talk a bit about how my impressions of the album have changed - or how they haven't - over the last 12 months. When this album was released I was more excited than I think I ever have been to hear a new album. For Emma, Forever Ago is one of my all time favourites, and I love his self-titled second album too, so I had huge expectations for this album, but was also wary that expectations might ruin my experience of the music. This was particularly the case for 22, A Million , because it is unlike anything else Justin Vernon has released. There have been hints at this more processed, electronic direction previously, like the song "Woods" on the Blood Bank EP and occasional flourishes on Bon Iver , but 22, A Million is a drastic departure from the Bon Iver sound we had grown accustomed to at this point in time. Or at least, that's what I thought...