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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