Flirting with a minimalist structure, the musical proposal of the work is simple, but filled with a delicate and original premise. Oblivion has a prevalent degree of authenticity deeply engraved at the conscious obliquities of its tempestuous notes, although there is also the prevalence of traditional genre elements on its overall musical atmosphere. The album do fall in some major ordinary monotonous ordinances – which is somewhat inherent to a musical symphony that is entitled to a magnificent level of grandeur –, but there is a splendid, indeed, an exponentially calm, gregarious and cohesive grandiosity attached to its rhythmic eloquence, that is hyperbolic and energetic, but serene and quiet at the same time, that extrapolates its salutary and dense exhilarations on a stable platform of mordacious veracity, so it becomes impossible not to feel immediately overwhelmed by the wonderful artistry unveiled by this beautiful work of humane, sensible and peaceful vastness of omniscient infinity.
Oblivion is quite a gigantic and peripheral work; its structure is simple, but the essence beneath the music is a complex diagram of emotional and technical alliances. Definitely, there is a monumental and profound congenital originality, that explores in the vivacity of its harmonious spheres the gracious musical benevolence of its creative sonorous potential.
Undoubtedly, this album deserves the greatest score possible. There is a formidable degree of originality on all the levels of its melodic splendor, not a single moment that is generic or predictable, any impatience on the surface of its musical layer, and the general authenticity present in the work corroborates the genuine audacity of its perennial quest for an underground true cosmic innovation. Gespenst is a fantastic duo, and Oblivion is an album that has all the qualities necessary to be qualified as a milestone of the genre.