During our reviewing sessions it is very interesting to find bands that make us wonder where they come from and why we haven’t heard from them before. Ordo Obsidium is one of those bands that after listening to their devastating debut album “Orbis Tertius made us wonder where they come from since they have a very interesting Scandinavian/European sound. However, to our surprise the band comes out from the Bay Area in the USA.

Delivering five aural assaults of Doom-influenced Black Metal, this band means serious business since they can keep the kvlt side of things alive while bringing the tempo down a bit and not sounding dull or repetitive. The crushing opener “Nequaquam Vacuum” delivers the first 11 minute attack of powerful riffing and bestial drumming all surrounded by a melodic and nicely paced atmosphere. The vocals are as hellish as they can get, but they never get in the way of enjoying the underlying melody behind this track. The dreamy passages (i.e around the 6:45 mark) create excellent contrast with the high paced section.

Featuring members of Nanda Devil, today we have the American band called Chasma and their experimental Black Metal sounds. With a very experimental European sound, it is nice to hear that some bands in the USA are not getting stuck with the typical USBM approach to things and are crafting some very interesting releases with foreign influences.

With three monolithic tracks each clocking on average around 10 minutes, the band creates very emotionally charged music that flows from instrumental sections to harsh-scream filled passages that will rattle your ears and soul. Mixing some Doom Metal influences with Black Metal, the band creates a less pretentious ‘Depressive Black Metal’ sound that only a handful of European bands can achieve.

Presenting their first full-length release “Syklus”, today we have Dystopia Nå!. In this very interesting release, the band mixes influences of Doom Metal, Shoegaze and Black Metal to create a very unique and excellent sounding album. For eight tracks the band will surely grab your attention whether you like doom-ish distorted guitars, Black Metal assaults, or beautiful Shoegaze passages that will hyptonize you.

Immediately after the mood setting (and momentum gainer) “Vemod”, the band delivers “Piller”, a very diverse song that shows a hefty amount of Doom Metal influences. After some BM assaults, the song nicely transforms around the 4 minute mark to a full-on Doom Metal tuned down guitar opus. However, just before finishing we have another BM onslaught and some very cool ‘alarm clock’ like sample allowing the listener to wake up from the hypnotic trance of this song.

Super talented multi-instrumentalist Duncan Patterson gives us his latest project Alternative 4. In this band, Duncan produces a very interesting and cinematic experience that merges some of the old elements of Anathema (from back in the day) and Antimatter (before he left obviously). This combination produces a very interesting and organic sound that we have missed since he started doing his last projects Íon and The Aftermath.

With a very mysterious opening track titled “The Brink”, this album nicely generates some expectation before “False Light” sets the tone of how (most) of this release is going to go. With nice distorted guitars and a very somber atmosphere, this song nicely delivers a very experimental yet familiar sound. Having recorded the album in several parts of the world including Ireland and Mexico, the overall product is very well integrated and full of atmospheric surprises. For the Anathema fans, the bass guitar line near the end of the song will nicely bring you back to the band’s old albums for sure.

Coming highly recommended by some of our friends, we finally had time to check out Grey Water’s EP from 2010 titled “Below the Ever Setting Sun” and we were pretty impressed with what we heard. Playing highly emotional Depressive Rock, Grey Waters blow the listener away with soaring vocals and powerful guitars that deliver a very melancholic feeling all through the five songs presented in this release.

After the intro track, “Say Goodbye” immediately reminded us of a modern sounding Decorayah, since the band creates a very powerful atmosphere and the vocals are a bit similar to Decorayah’s dramatic singing. The atmospheric passage in this song that leads to some harsh vocals is perfectly crafted, allowing the song to nicely flow. Next up we have “Below the Ever Setting Sun”, another very effective and melancholic track. This track has some nice Post-Rock/Metal hints that enrich the sound nicely, adding to the overall atmosphere created by the band.

Riding on the success of their impressive 2010 release “Aquarius”, Haken returns with yet another excellent Progressive Metal release with “Visions”, this clearly shows that their debut album was not a fluke and that the band means business. For over 71 minutes of brilliantly composed music, the band makes it clear that they are ready to take a protagonist role in the crowded Progressive Metal scene.

With a very Dream Theater-like approach, Haken opens this release with the instrumental “Premonition”. In this track you can hear brilliant keyboards and the futuristic edge that made “Aquarius” such an appealing release last year. After the soothing effect of the opening track, the 13 minute “Nocturnal Conspiracy” delivers the first appearance of Ross Jennings, the band’s charismatic vocalist. His pipes are very emotional and never as whiny as other singers such as James LaBrie. This track features a few sections that remind us of Ayreon and Star One in terms of the music, but Haken still manages to pull away with their own characteristic sound.

After making us wait for 10 years since their last full-length release, Night in Gales returns in full force with 13 tracks of excellent Melodic Death Metal with a more melodic and dynamic edge tan before. With their traditional Swedish Melodic Death Metal intact, the band incorporates a few surprises here and there in order to update their sound and kick some as.

Opening with the cello instrumental “Epitaph”, the band nicely sets the mood for their aggressive ‘real’ opener “This Neon Grave”. In this track, the impeccable riffing style of Jens and Frank Basten delivers a very catchy and powerful guitar driven track. The vocals of Bjoern Gooses keep up very nicely with the music providing a multi-faceted approach, including some very effective clean vocals. Behind the melodic nature of “Days of the Mute”, the band delivers some sections that are very similar to Eternal Tears of Sorrow’s passages with clean vocals and melodic guitar sections.

As one of the most beautifully composed and yet perplexingly complex albums of 2011, today we have White Willow’s release “Terminal Twilight”. In this release, the band takes us on a journey lasting nine tracks of trippy synths, enchanting vocals, and a King Crimson-like atmosphere unlike anything we have heard before. After the excellent release by Leprous this year, we can’t help but wonder what is in the Norwegian water that drives musician’s creativity to this level of awesomeness.

Opening with “Hawks Circle”, this album starts in a very trippy and ethereal way. The vocals in this song sound like a mixture of Agnete M. Kirkevaag of Madder Mortem and Ann-Mari Edvardsen (ex The 3rd and the Mortal). The flutes nicely creep into the music making this song very dynamic and engaging. In an even more hypnotic way, “Snowswept” delivers a haunting atmosphere that will suck you right into the band’s own musical universe.

All the way from Australia today we have Thrall and their sophomore release “Vermin to the Earth”. Featuring seven tracks of hard hitting well-produced Black Metal, Thrall does a great job in following up their debut release “Away from the Haunts of Men”. The band plays very typical BM but with a crispier production and nice tempo changes that sometimes shake things up allowing them to not bore the listener to death.

The guitars are very well constructed and in all tracks they nicely shine due to the excellent production. The vocals are probably the most exciting part about this album since they bring that hellish scream that singers like Attila Csihar love to deliver, and they never get to high-pitched to the point of making your ears explode. In the first two tracks (“Vermin to the Earth” and “Oblivion”) we can nicely hear the tempo changes in the songs, making them less vanilla than your average BM release.