Throughout their self-titled debut record, Heron Oblivion seek to juxtapose subdued, clean vocal lines against elongated, heavy metal instrumentation with drama being the connecting factor. Vocalist Meg Baird never strains, eeriely whispering her folk induced melodies. In the beginning of “Beneath Fields,” the band sets up this menacing sound aesthetic with subtle rhythmic movements highlighting Baird’s thoughts before dueling guitars roar back and forth as the groove is opened up into a long-form jam session. The songs are pondered for long periods of time with most of them stretching out to six or seven minutes each, which helps the band develop their ideas from bare beginnings to powerful climaxes. Despite the drawn out songs, the guitar avoids the territory of excess favoring communication and musicality over impressive technicality.
In a time where electronic production has become central, Heron Oblivion offers a refreshing take on guitar based rock.