Bowstrings & Breakthroughs – NE OBLIVISCARIS’ TIM CHARLES on 'Citadel', Classical Roots, And Pioneering Metal With Violin

Interview by Angela Croudace
Ne Obliviscaris’ clean vocalist and violinist Tim Charles sat down
with HEAVY to reflect on the band’s journey, the legacy of their
landmark album Citadel, and what it’s like bringing classical
violin into extreme metal.
Formed in 2003, the Melbourne-based band didn't reach the
international stage until their second album, Citadel, released in
2014. “It was our first proper record deal,” Charles explains, “and
that made all the difference. Suddenly we were in stores worldwide
and able to secure booking agents and festival slots overseas.” The
band’s debut, Portal of I, was self-released, and though praised by
fans, lacked the reach Citadel was able to achieve with the support
of Season of Mist.
Celebrating its 10th anniversary, Citadel was recently remastered
by Mike Lewis, who also helmed the band’s latest release, Exul. “We
wanted to bring a bit of the Exul touch to Citadel,” Charles said.
“It’s slightly more open, a bit heavier, and filled with little
details that bring new life to the mix.”
Tim also shared his excitement about returning to the stage with
the epic 23-minute track Painters of the Tempest in its entirety —
a feat not attempted in nearly a decade. “It’s still one of our
best songs. Performing it live again was incredibly
satisfying.”
Known for weaving violin into every corner of Ne Obliviscaris’
sound, Charles discussed how his classical training shaped the
band's musical direction. “I was always inspired by guitarists like
Jeff Loomis and John Petrucci,” he said, “and I’d think — how can I
do that on violin?” With few metal violinists to look up to,
Charles essentially invented his own approach, blending classical,
jazz, and metal into a seamless force.
The band’s recent collaboration with Swedish act Imminence, whose
own frontman plays violin, shows that the path Charles helped forge
is inspiring a new generation. “It’s been amazing to see more
non-traditional instruments in metal,” he says. “Hopefully, there’s
more to come.”


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