| Musical Style: Heavy Metal | Produced By: Andy Freeman |
| Record Label: Independent | Country Of Origin: USA |
| Year Released: 2020 | Artist Website: Oblivion Myth |
| Tracks: 11 | Rating: 90% |
| Running Time: 58:29 |
Nashville, Tennessee based Oblivion Myth is in a state of transition. Not just in terms of musical direction, as it independently released on October 15, 2020 its most varied work to date in third album In Your Arms, but also from a roster standpoint, having expanded its lineup from three core members to five. As it pertains to the former, Oblivion Myth put out its debut full length Between Light And Shadow in 2008 to head in a ‘classic US power metal (direction) heavily influenced by the NWOBHM’ (noting the 80% Angelic Warlord review). Following up in 2016 with sophomore effort Inside The Mirror, the group maintained a similar musical propensity with a ‘foundation of traditional metal mixed with strong leanings towards power metal and hard rock’ (quoting the 95% Angelic Warlord review). On In Your Arms, Oblivion Myth branches out even further with a potpourri of sounds that while loosely based upon classic US and European power metal, also proves derivative of progressive, symphonic, traditional and on occasion thrash metal.
In regards to the latter, Oblivion Myth, a band of Christians whose motto is ‘Eternity is real, Oblivion is just a myth’, has faced its share of turnover. The group retained just one member from Between Light And Shadow and Inside The Mirror, noting holdover guitarist Keith Smith, whom was joined by newcomers vocalist Tim McDonald and drummer Bob Schultz. Guest musicians rounded out the remaining Inside The Mirror roster. In Your Arms brings further change in featuring the return of guitarist Chris Selby from the Between Light And Shadow lineup along with new bassist Ryan Mark. Guest performers continue to abound, including the Battle Angels’ choir of Cat Fritchman, Vicki Reid and Carmen Sanders, guitarist Curtis Erdek, Between Light And Shadow vocalist Andy Freeman and keyboardist Hutch Hutchison. No doubt, this is the most well rounded roster of musicians to grace an Oblivion Myth album.
In my Inside The Mirror review, I describe Oblivion Myth as more accessible and song orientated in comparison (to Between Light And Shadow) and such is the case with albums first three (and in my opinion among its better) vocal tracks. In Your Arms actually opens to a short classically influenced instrumental, “Diadem”, prior to segueing to the Theocracy like epic power metal of “Thousand Years”. The song proves sublime in capacity, crunching through its verse sections at a heightened tempo as assured double bass fills the low end only to broaden out upon procuring a catchy refrain in which said ‘Battle Angels” choir lends an operatic flair. It was a smart decision on the bands part to make “Thousand Years” albums second single. Lyric snippet:
We will travel near and far
As mild as doves, as wise as serpents
Apostles of the word we are
We follow light of yonder star
Into danger we are going,
Dust and heat, we walk on fire
Doing deeds, and seeds we've sown
We open eyes from the lies
“The Veil” ensues in capturing the Oblivion Myth signature traditional metal sound. Everything about the song speaks of heavy but melodic, from the battering ram rhythm guitars to another catchy draw you in at once refrain to the high energy falsettos interspersed throughout. Tempering things are occasional stilly done passages in which guitars lighten to the back end. Lyric snippet:
The covenant from old to new
A feeling of dread grew, reality set in
A doom lay upon them
If only they'd believed in him
And it was finished in that hour
And the soldier felt the power of the Son
A soldier's eyes were raised
And comprehension dawned
He knew what they had done to the Son
Debut single “In Your Arms” walks a fine line between its two predecessors. On one hand, it draws upon a towering guitar sound akin to “The Veil” while elevating momentum to expeditious territory (guitar riffs are of a mesmerizing quality). On the other, the ‘Battle Angels’ make a cameo appearance for the refrain in also allowing a symphonic flair (melodic power metal might be the best way to describe albums title track). And I love the extended stretch of jaw dropping lead guitar from Keith Smith. Lyric snippet:
A cold wind blows auburn hair
I see a flash of emerald eyes
A shadow falls upon my soul
Darkened as the leaden sky
In Your arms tonight I’ll lie
Our love will conquer all our enemies
In Your arms tonight I’ll die
For memories and what they mean to me
Three songs in and it becomes apparent the albums immaculate production. Yes, Inside The Mirror sounds very good, but In Your Arms takes things to the next level with a lush sound allowing all instrumentation to separate, particularly the near perfect crisp rhythm guitars and bass that literally breathes in the mix. Likewise, versatile vocalist Tim McDonald maintains a high-level performance with a smooth mostly mid-ranged style that can soar for a high-end falsetto at moments notice but also reach down for some lower register grit and angst.
I rate albums progressive material (its final three tracks) every bit high. Seven minute “Awake In The Night” is heavy as it gets far as In Your Arms concerns, with punchy riffs that bring to mind Jacobs Dream track “Violent Truth” (off the self-titled debut from 2000) and some aggressive moments touching upon a thrash quality (heavy hitting drum work of Bob Schultz is spot on). A dark technically woven power metal essence rise above the surface in the process. Lyric snippet:
It’s 2am , and I can’t sleep
I pray the Lord my soul to keep…
The house is cold and dark tonight
I’m stuck here on my own again
We awake in the night
Upon as a Holy Light
A light for all of us to see
Just what we might wish to be
Hutch Hutchison’s classical keyboards lend a symphonic feel to “Second Skin”, as does Vicki Reid’s operatic backing vocals. Song otherwise takes an intricately up-tempo form with its manifold time signatures, exclusive to a tempered mid-point classically breakdown in which impetus delicately lightens and another complex instrumental run to see Oblivion Myth puts its adept musicianship on full display. Lyric snippet:
Reflection of a second skin,
New and glistening
Nevermore to see again the skin that I have shed
And this is much better than I’ve dared to dream
Never expected it, so bittersweet…
Feeling life's sweet rewards, pleasure leaves me floored
I’ll drink the wine, it shall be mine
I’ll toast a new reality
Nine and a half minute “Heirs To The Throne”, longest Oblivion Myth cut since “Knightserrant” (of similar length) from Between Light And Shadow, does the Dream Theater meets Affector thing- and quite well at that! It begins to a two minute instrumental build up to run from stilly done guitars to neo-classical soloing only to throw everything but the kitchen sink at the listener the rest of the way: mirroring an intense but classy feel as crunching guitars trade off with dreamy vocal melodies, manifold instrumental excursions and Andy Freeman’s gravelly vocal’s contrasting with McDonald’s even touch. Point being that like all good progressive music, “Heirs To The Throne” logically fills out its length in failing to turn into a trite or repetitive listen. Lyric snippet:
The Holy Spirit is greater than the enemy of Earth
It lives in me, and has known me since my birth
I have the mind to crush enemies of my soul
A New Creation, Divine Right, Behold!
The journey you might endure could lead you astray
He who has an ear, let him hear the Spirit say
Beware the prince of the power of the air, and its geist
We are heirs, to the throne of God, in Christ
Four remaining tracks are quite good, albeit I rate them a notch below those previously referenced. Also, since I have already potentially overdid it from a detail standpoint - a trap I fall into when writing about music in which I am excited! - I am going to truncate things a bit in terms of song descriptions.
My favorites include classic hard rocker “Another Life”, brimming with its big Boston-like guitars and mirthful up-tempo disposition, and “The Price”, heavier with a mid-tempo metal heading and all the instrumental excursions you could ask. Former finds Ryan Mark’s rolling bass commanding the low end, and on latter Cat Fritchman contributes a raspy backing vocal presence. You will find two high energy cuts as well, with “Slow Burn” a tireless stomper to earmark buffeting drums and some of the most intense falsettos you will hear (courtesy of McDonald) and “Love Child” home to galloping Maiden-esque riffs, double bass outbursts and bluesy lead guitar (noting the work of guest guitarist Curtis Erdek).
I appreciate how on In Your Arms, Oblivion Myth stays true to its own sound and delivers an array of styles in the process, albeit based around a metal framework. In other words, the group did not record Inside The Mirror II, but rather its own unique work to stand apart with In Your Arms. One cannot deny the top to bottom Oblivion Myth talent either, with the group proving a locked in step and well-oiled musical machine (as video to albums title track aptly attests). Gist is that from branching out musically, Oblivion Myth has delivered some of its finest material to date. If into metal with a bit of variety or the group’s first two albums, then In Your Arms represents an essential purchase.
Review by Andrew Rockwell
Track Listing: “Diadem” (1:19), “Thousand Years” (3:59), “The Veil” (4:56), “In Your Arms” (5:29), “Slow Burn” (4:06), “Love Child” (5:03), “The Price” (5:15), “Awake In The Night” (6:58), “Second Skin” (6:14), “Heirs To The Thrown” (9:40)
Musicians
Tim McDonald - Lead Vocals
Keith Smith - Guitars
Chris Selby - Guitars
Ryan Mark - Bass & Orchestration
Bob Schultz - Drums & Percussion
Guest Musicians
Cat Fritchman - Vocals
Vicki Reid - Vocals
Carmen Sanders - Vocals
Andy Freeman - Vocals
Curtis Erdek - Guitars
Hutch Hutchison - Keyboards
