Bindrune Recordings: Woodland Denizens unite!

Metal Injection (Atanamar Sunyata)
In the heart of every music fan there is a shrine of sound, a cache of albums that comprise our sonic comfort zone. Most likely, these albums cannot be touched; any attempt by modern musicians to reproduce their ethos will produce derivative, hollow simulacra. Obsequiae have achieved the miraculous; they've recorded an album that strides directly into my own musical sanctum. This is not achieved by apery or homage, but by honest, genuine, unique and creative musicianship. Suspended In The Brume Of Eos sits in the inimitable company of Opeth's Orchid and Morningrise, In Flames' Lunar Strain and Jester Race, as well as Dissection's The Somberlain.

Suspended In The Brume Of Eos places trust in the fundamental metal truth of dueling, intertwined guitars. I'm not talking about the evolved, maniacal approach of a Barr/Marston, but the primal synergy of a Murray/Smith. Throw rasping, demonic vocals on top of venomous aggression and we're talking about the basis of what is now derisively called melodic death metal. Obsequiae certainly employ its devices, but they compose music that pre-dates the term, conjuring a sound that transcends the vagaries of genre that has long-since self-destructed.

Obsequiae synthesize classical and medieval atmospheres into cold hard riffs. Suspended In The Brume Of Eos is a concise and compelling marathon of absurd, astronomically satisfying riffage. Lodged between its tracks lurk mandatory, clean classical guitar passages of stunning quality; I'd expect nothing less. Suspended In The Brume Of Eos trots in a vast array of velocities. The swifter tracks rock with neck-snapping grooves and serpentine, tremolo picked torrents, rolling on well oiled rhythmic rails. Slower passages let uncanny, haunting melodies sing with sepulchral resonance. The articulate, vibrant drumming accentuates the album's accomplished air; Obsequiae breeze along as if this were child's play. The album is skillfully produced, mastered on the quiet side to effect an expansive dynamic range.

Obsequiae get it, they own it, they kill it. Music of this sort treads near a precipice beyond which lurks a sea of cheese. Obsequiae boldly navigate this narrow path of awesomeness and never once approach the edge. If victorious, soaring, sonic warfare is your thing, Suspended In The Brume Of Eos will have you banging your head uncontrollably and throwing fists of fury towards the sky. If not, have a nice day. 9.3/10

Evening of Light (O.T.)
The US duo Obsequiae is a continuation of the earlier project Autumnal Winds, and with Suspended in the Brume of Eos (that last bit means fog of dawn, in case you were wondering like me) they present their first large release, after earlier demos. While the band has its roots in melodic death/black metal, which is still the most prominent sound on this album, there is no doubt that this record carries a strong influence of mediaeval and early music.

Now, mediaeval is often a troubling influence in popular music. All too often the elements that have to lend something a mediaeval tinge are renaissance faire costumes, Olde English, and even a certain amount of drollness. In metal, things are hardly better, where these influences are generally limited to posing with swords and – dare I say it – lots of keyboards. At first glance, Obsequiae ticks a few similar boxes, with gloomy castle pictures on the inside of the CD, mediaeval European pseudonyms, and the lovely Lady and the Unicorn tapestry that graces the front cover.

However, on Suspended in the Brume of Eos the influence is more than skin deep, and that makes this album so powerful. Besides a selection of popular mediaeval interludes played on acoustic guitar that balance against the eight mostly high-speed metal tracks, we can clearly hear the influence of mediaeval melody and tone even in the latter, where the often dual lead guitars hammer out one brilliant line after another. Perhaps many metal musicians have often wondered how certain mediaeval tunes would sound played as metal, but I have exactly the reverse sensation with many of the tracks on this album. From the gently rippling lead from the title track to the slower majesty of "The Wounded Fox", and many other bits in the album, it's crystal clear that Obsequiae's music manages to be both: quick, technical and energetic extreme metal that is obviously from this day and age, but with resonances of ages past. Rather than just implying or even faking mediaeval influence through external means, this band was truly inspired musically by mediaeval forebears, even serving as a sort of missing link between then and now.

Apart from the general success of this approach, I simply have to mention the marvelous opening track, the relentless waltz of "Altars of Moss". This track is pure gold from the start to its glorious finish with one of the best riffs I've ever heard. More general praise goes to the tight rhythm section, and the production, as this is one of those albums that proves that a good bass guitar sound is a valuable asset to a metal album.

This one of those metal albums that sound conventional on the surface but harbour a vast amount of sophistication within. If there's any band that deserves the label 'mediaeval metal' (or as the promo notes have it, 'castle metal'), Obsequiae is it. If these guys could serve up another portion of this the coming years, I'd be much obliged.

Teeth of the Divine (Jordan Itkowitz)
Obsequiae, a duo black and bold
Crafting melodies from cent'ries of old
The mists of time unfurl and flicker past
And echoed rasps begin their –

Eh, enough of that. Writing a review in iambic pentameter is damn near impossible.
These guys do a much better job with the medieval slant on their craft. Minneapolis' Obsequiae play a highly stylish, melodic take on black metal that sounds like it's drifting through some cosmic space portal from Ye Olde Original Renaissance Faire. Except it's not cheesy, and there are no prancing LARPers, pewter dragon swords or giant turkey legs. From the first cycling strains of "Altars of Moss," Obsequiae bewitch you into a state of genuine fantasy bliss. It's a simple concept – marry black metal to traditional medieval melodies – and man, do they pull it off right from the start.

Of course, other bands have flirted with this execution before – Summoning's Middle-Earth-meets-Middle-Ages stomp being the most obvious answer. However, much as I have fond memories of re-reading The Lord of the Rings while Dol Guldur and Minas Morgul played on repeat, those albums were far simpler listens, and more apt to become background music. They relied more heavily on repeating, rolling melodies over martial percussion; a lulling accompaniment to long treks from there and back again.

Obsequiae, on the other hand, crafts a far more intricate experience. These songs don't just sound composed – they sound woven, like fine tapestries only recently uncovered in some mouldering vault. Elegant melodies unfurl on each track – some as rumbling, churning mid-paced black metal, and others, like the lovely "Sidhe" or the nimble thrum of "Wildes Heer," as acoustic medieval folk hymnals. There's even an appropriate touch of lumbering doom on the title track and "The Wounded Fox." Each track features a unique structure and an intelligent, purposeful use of cycling, dual harmonies twisting into and around each other. Combine that unique compositional sensibility with a steady pace (even when things seem frantic), playful percussion and expressive rasps, and you have a black metal experience that's nothing short of hypnotic.

I'm no expert on medieval composition, but it seems like Obsequiae conducted some serious study, and then ably translated those findings to a palette you'd expect to hear from a Dissection or Abigor album. I've done my best to describe it, but you really need to hear it for yourself.

Another fine addition to Bindrune Recordings' already-impressive roster (Wodensthrone, Falls of Rauros, Blood of the Black Owl) of bracing, atmospheric and iconoclastic black metal, and a worthy purchase for connoisseurs and the curious alike.

Blistering (Justin Donnelly)
Bindrune Recordings may not have a vast array of artists on their roster, and they certainly don't have a lot of releases to their name just yet, but what the label has released over the last few years has been of exceptional quality.

Their latest find is Minneapolis-based outfit Obsequiae, whose debut full-length effort Suspended In The Brume Of Eos has finally seen the light of day some two years after the release of their limited edition/hand numbered (to 100 copies) self-titled demo was picked up by the same label.

While the fusion of melodic black metal and medieval/folk isn't something unheard of, there's something in the way that Obsequiae write and perform their compositions that gives the blended sounds a whole new perspective, and none more so than what's heard in the album's opening track "Altars of Moss." The sweeping folk-like electric guitar/bass riffs are balanced cleverly against a distinctly black metal vocal presence and drums (which at times break into blast beats), providing listeners with a sound that's as aggressive as black metal, but far from run of the mill structurally.

From here, the album alternates between aggressive blasts of melodic black metal ("In The White Fields," "Arrows" and "Cabin Lights"), progressively edged/experimental black metal efforts ("Atonement",""The Wounded Fox," "Suspended In the Brume Of Eos") and medieval/folk instrumental passages ( "Sidhe," "Wildes Heer," "Estas Redit" and "Boreas") – which when combined, give the album a lot of depth, variation and separation from one track to the next.

Obsequiae's don't play the familiar melodic black metal with medieval/folk influences, and Suspended In The Brume Of Eos is anything but the same old sound of most. This album really is something different. Anyone familiar with Bindrune Recordings will know what to expect on Obsequiae's debut – And that's something really quite different. But if you're a stranger to the label, and like your black metal to be a little more daring, Suspended In The Brume Of Eos is well worth hunting down. [8/10]

Metal Review (Eric Thomas)
I have not heard anything from Bindrune Recordings since 2010's Blood of the Black Owl swansong, A Banishing Ritual. However, if there were a label that defined quality over quantity, it is indeed Bindrune Recordings, as they recently released two fantastic efforts this summer in Falls of Rauros's The Light That Dwells in Rotten Wood and this, the debut of Minnesota's Obsequiae.

A duo who have served time in Autumnal Winds (Obsequiae is apparently a reformed iteration of Autumnal Winds) and Celestiial, Obsequiae is a project that exceeds both predecessors in scope and quality, delivering an organic, beautiful and medieval-tinged take on modern, transcendental black metal (a term, which despite, Hunter Hunt-Hendrix's best efforts isn't a dirty word and does apply here) that resides in the same general area as Agalloch, Fen, Wolves in the Throne Room and such. I also get a bit of a Primordial feel from some of the pacing and riffs, due to the primitive, epic aura they imbue.

I've seen the term "castle metal" thrown about in various press releases, and as someone that grew up around and in castles, I can say that there is some truth to that analogy. Amid the organic tones, layered riffs, warm tremolo picks, distant rasps and acoustics lies a certain dusty archaic atmosphere of stone walls, roaring hearths, Pavane's, tapestries, knights, delicate chamber music and ghosts of times past. It's hard to describe, but when you hear some of the melody lines and acoustic strains of opener "Altars of Moss", you'll know it instantly. The beautiful cover art also hints at the music contained within.

Suspended In the Brume of Eos is a enthralling journey, a journey where glowing, somnolent black metal ("In the White Fields", "Suspended In the Brume of Eos", "The Wounded Fox") is mixed with gorgeous medieval acoustic interludes ("Sidhe", "Wildes Heer", "Estas Redit" "Boreas"). But Obsequiae also shows that they aren't just about languid atmospheres, as on the rare occasion when they open up a little ("Arrows", "The Starlit Shore", "Cabin Lights") -- they are equally as adept, and still manage to drench the more urgent material in that tangible medieval mood.

Obsequiae (and Falls of Rauros, for that matter) is the perfect answer for the backlash against organic, intelligent American black metal of late (thanks, Liturgy) and one of the the more mesmerizing albums I've heard in 2011.
e of the the more mesmerizing albums I've heard in 2011.

Sputnik Music (Scissorlocked)
It's inarguable that the medieval-inspired music never gets old fashioned, especially in metal. Apart from the usual mockery and the justified complaints for bold repetition, it has managed to remain interesting, mostly due to its thousandfold transformations ranging from black-metal savages to folksier indie products that sympathized with the earthly and heroic feeling that such tunes hold. The formula is widely known: throw some woodwinds, invite a furious violinist and buy a lute. For some, the extra-leathered costumes and hats made it even more possible to transgress the field of musical experimentation and pass through the door of ridiculousness. Thankfully, there were still bands that followed a more rough road, like the one that modern troubadours like Ian Anderson or ethereal mistresses like Lisa Gerrard, paved.

One of these bands is Obsequiae. While bearing no resemblance with the aforementioned artists in terms of genre and instrumentation, the band successfully creates an impressive mixture of folk-tinged black metal, that mostly stays away from the rigid train-riffing and focuses on epic melodies and impressive riff combinations. And that's where Obsequiae can be proclaimed as offsprings of such acclaimed, medieval-inspired artists: in their ability to recreate the atmosphere of these mossy dungeons with drums, bass and 2 guitars as their only allies - namely with what means they considered proper for delivering such emotions and themes. However, Suspended In The Brume Of Eos, is not the folky metal album that finds itself high and dry outside its genre. The band's debut is an album equally enjoyable for a wide spectrum of metalheads.

In most of its parts, Suspended In The Brume Of Eos serves as a torrential rain of polyphonic melodies and riffing. Steadily built on the vivacious and articulate drumming, the dueling guitar patterns literally steal the show. Fast and technical, not that memorable, but always respectful to melody and clarity, the guitar work is excellently based on velocity while leaving the proper space for mournful leads and serpentine grooves. It's what melodic death should have done before vanishing into uninspired, pop refrains and repetitive melodies. The eterophony created within the guitar interplay is powerful and the synergy is flawless. A quick listen to "Atonement" or "Cabin Lights" should convince anyone. Moreover, what makes the overall quality more solid is the basslines: usually sacrificed for more guitar layers, here they stay up in the mixing, making the sound warmer and tight. And while the vocals come straight from the black metal realm, cold and chaotic, the acoustic interludes, rather than waning the intensity of structure, gently soften the listener almost after every two songs.

Suspended In The Brume Of Eos came as a reminder that aggressive music can easily be combined with various folk-like elements, without involving cheap imitation or being bombastic. As an album it neither reinvents the wheel nor provides the genre with innovative features. Its tight songwriting and great sense of melody though, together with the excessive technicality, are evidence that Obsequiae are able of composing excellent material in the near future. [4.0/5.0]

Metal Psalter (Peter)
Obsequiae was originally known as Autumnal Winds and had changed its name to Obsequiae in 2007 after a hiatus under its original moniker. The duo, consisting of Neidhart van Reuental and Blondel de Nesle, is based out of Minnesota and as you would imagine, play a dark style of metal that pays homage to its home. Their debut under the Obsequiae name was released recently in Suspended in the Brume of Eos, and is a solid album that should fit in alongside the likes of Celestiial and Wodensthrone.

From the opening track "Altars of Moss," it is clear that Obsequiae wants to make a strong first impression on the listener. On Suspended in the Brume of Eos, Obsequiae's style of music is a melodic form of black metal that throws in some acoustic interludes in between songs. At times, it can channel the violence in which a blizzard can create, as evidenced on "Arrows," while at other points, it can be calm, as "Estas Redit" and "Sidhe" prove with its acoustic abilities. The alternating styles that Obsequiae uses are done in a manner that allows the flow of the album to be smooth and without many problems. The production values are clean, which allow for the individual notes on the lead guitar to be heard in the heavier songs, particularly on the closing track "Cabin Lights." The vocals are fairly standard black metal fare, which isn't too bad, since the music carries the load on the album. One of the more surprising aspects of Suspended in the Brume of Eos is that it's relatively easy to understand as soon as the second listen, which is unusual in the sense that many of the bands on the Bindrune Recordings label take longer, more involved listens before the listener can grasp what is going on. One complaint of the album is that at just under 42 minutes, Obsequiae leaves the listener wanting more, as it feels way too short, but that's more just trying to find things to complain about the album than something that would actually affect the listening experience.

Like many bands on Bindrune Recordings, Obsequiae turn music into their own way of making aural elements that tend to stick with the listener for a long time. Their debut Suspended in the Brume of Eos is compact in the sense of time, but makes up for it with its ability to combine harsh and acoustic elements into an album full of interwoven elements. This album may end up being a top ten contender on most lists. 4 out of 5 stars!

Wormwood Chronicles (Dr. Abner Mality)
My lords and ladies, it pleaseth me to present to you a most unique band of minstrels who do name themselves "Obsequiae". I know not from whence they come...perhaps from some far future age or enchanted land beyond the maps we know...but they playeth music in a fashion unlike any we have heard here before. They play loud enough to raise the dead from yon churchyard and their music has a crushing power to maketh the blood race and thy head nod furiously. But even so, they play in the style we know so well and the melodies and chords are not unpleasant to the ear.

"Suspended In the Brume of Eos" is their first folio, though rumor has it they were called Autumnal Winds in the past. With the very first hymn "Altars of Moss", we hear hypnotic riffing that is most passing heavy and the voice of the minstrel is as harsh as the cries of one hung upon the gibbet. Some say it is devil's music, but listen on and you cannot deny its power. With lighter tunes such as "Sidhe", "Wildes Heer" and "Estas Reddit", we hear more traditional acoustic fare,such as has been heard across the land for many a year now. And truthfully it can be said that Obsequiae play this style most well and faithfully.

But mostly they play with raging fury and volume. "Arrows", "The Starlit Shore" and "The Wounded Fox" taketh no prisoners and blast away like the summer storm.Yet sill we hear the tones of our medieval age contained within. Those of blackened hearts may enjoy the playing of Obsequiae but there is no sign that they bend knee to unholy idols as some do. On slower odes like the title track and "Cabin Lights", there is a subtle beauty that creeps amidst the loud guitar and crashing drum.

I would say that, for those who have courage enough to hear and not judge in haste, "Suspended In the Brume of Eos" is a mighty symphony that brings thunder to the Earth in a new and clever way. Now...bring forth the jesters and mead!

Don't Count on It Reviews
Despite how I feel about Celestiial, probably the most well known project of Tanner Anderson, I had heard nothing but good things about this project. Supposedly the continuation of an earlier project called Autumnal Winds that was around since the late 90s till around 2005, a more black metal based band. With nothing but good things, and some odd comments about how this actually sounds, I became interested rather quickly.

I remember several comments and reviews of this album mentioning things like medieval sounding melodies, lots of bass, and harmonically complex, all of which are things that could potentially lead to a very cheesy sounding blackened folk metal record. Fortunately enough, all of these things immediately show up in opener Altars of Moss and prove any doubts I might have had about it wrong. Personally, I like folk music, I enjoy the melodies used in a lot of folk and acoustic music, and medieval music isn't something I listen to, really ever, but don't dislike, and I find that a lot of folk metal groups, or blackened folk metal groups, never hit the right balance between the two to sound authentic and aggressive. What I found on here is as dense and chaotic as black metal, but as melodic and memorable as folk music, adding up to something quite extraordinary.

I know that I use the term "progressive" a lot in my reviews in different contexts, and I'm sure saying it here will get more than a few people upset, but listening to a song like the title-track, Suspended In The Brume of Eos, it's hard not to hear the great take these guys do on the blackened folk thing, I haven't really heard any other band sound as rich and complex as these guys. To bring up the bass situation for a second, while I had heard there was a lot of it on here, it wasn't what I expected. What I came in expecting to hear was something along the lines of having the bass being loud in the mix, like albums from prog-metal groups like Spiral Architect or the first Cynic album, but instead, the bass is lower in the mix, but is still just as well played. But to reiterate here, this album is also really catchy, with tracks like Atonement that just caught my ear from take off. But even at it's most straightforward and aggressive moments, Arrows being a prime subject, there's still something worth looking back at and listening to again, because it isn't just fast and primal black metal with melody, during points like that, it's something much more subtle that lures you back.

I really can't say a bad thing about this record, it's a lot better than I even expected it to be. My only complaint is that I wish it was a little bit longer, had another couple of songs, because it's that damn good. If you like folk music, black metal, progressive rock, etc. check this out, I'm still in awe of it after several listens.
Overall Score: 9

Battle Helm (Anders Ekdahl)
Judging by the history of what Bindrune has released prior to this album by Obsequiae I will be in for a blind journey that could take me wherever my mood allows me. And I am game for it. I will allow Obsequiae to take me on a journey with no destination with the promise of it being a wild ride. And in the company of Obsequiae I'm taken back to the 1300s. Listening to "Suspended In The Brume Of Eos" is like sitting in my own medieval castle looking out at the beautiful landscape beneath. It's a ride up and down the hills surrounding my humble home. It's a humbling journey to a time less imbued with this or that, the dos and don'ts. Does it sound pretentious? Well, it is pretentious but that is what is so great about this record. It doesn't care if you get offended by its pretentiousness. It just moves along like it has no cares in the World. If you like your metal atmospheric and melodic and don't mind cold, harsh vocals then this might just be what you're looking for.

Metal Revolution
I've never heard of the Minneapolis (Minnesota, U.S.) band Obsequiae prior to the release of their debut full-length Suspended in the Brume of Eos. The album contains 12 tracks of medieval and classical black metal, while they've often been referred to as 'castle metal'?! I don't know what make them classify this band as 'castle metal', but according to the lyrical content dealing with medieval times, elves, dragons and similar semi-romantic stuff, the description is highly relevant.

Luckily their music is much more than a celebration of elves and dragons, as it sounds rather atmospheric, yet chilling and haunting. Obsequiae build on the past with an atmosphere that has long been forgotten in the metal world. I highly enjoyed their inventive medieval scales and acoustic guitar passages. The song-writing is passionate and emotive, and when supplemented with sweeping melodies and crushing & harsh vocals, the whole thing sounds rather fantastic.

The only coin is the fact that songs tends to get monotonous and repetitive towards the end of the album, yet I was not bored as it was a development that I expected from this kind of music. Simultaneously, I wish the production wasn't this unpolished as a more professional and up-to-date production could have raised this opus to an even higher scale.

If you're searching for a band trying to build their own and unique approach to black metal this one is not to be missed. I find Suspended in the Brume of Eos and its 12 compositions to be extremely impressive and stunning. Obsequiae have crated something truly unique, something where there's big potential for a further growth.

Canadian Assault (Dale)
Suspended in The Brume of Eos is the debut of this metal horde from Minneapolis, Minnesota. In my view, this is a strong first release for the band and it becomes quite apparent why Bindrune became interested in them.

Bindrune are known for having fine tastes when it comes to melodic, epic and progressive sounding dark / black metal. They are a label that releases in quality and not quantity, Obsequiae continue the tradition. There are some wonderful twin guitar harmonies going on, as well as some fine acoustic work, yet it is always balanced structurally with a thought not towards making it just catchy, but rather towards mapping out a long and winding mental journey. They mix their dark metal sound with elements of heavy metal, black metal and medieval folkish strains, so nothing new there yet they do it more skillfully than most. Obsequiae create songs with it, not merely a patch work quilt of influences.

The vocals are kept obscured in the back of the mix and at times are sparsely used, but decidedly they are decidedly of the style most often associated with black metal. The vocals are deployed in a somewhat accompaniment type fashion rather than being a focal point of their musical landscape. Suspended In The Brume is not just a collection of songs, but as I said earlier a journey which must be taken resulting in a wonderful album.

Scumfeast Metal 666
Rating 5/5
Hearing something like this coming out of the US gives me hope. Musically the style being played on here would be easily thought to have come out of England or Europe but this duo is from Minneapolis, Minnesota. Band members Neidhart von Reuental (guitar, bass,drums) and Blondel de Nesle (vocals, guitar) were applying the metal chops in the blackened death band AUTUMNAL WINDS for many years. Blondel de Nesle is also in funeral doom stalwarts CELESTIIAL. None of that matters now since what we have here is something completely different.

Combining folk like melodies and prog structured medieval sounding grandeur over a black metal backdrop with rasped vocals. Soft acoustic pieces are interspersed between the metal cuts to give it an almost conceptual feel. This is the type of stuff you would play in a castle if you could afford to own one. Hell this is the type of sound Varg Vikernes was touching upon before his incarceration years ago. Songs like "Atonement" and "Arrows" are fully draped in black metal but without the hornet's nest tremolo picked sound. The rhythms range from mid paced to speedy riffs combining the essence of black metal with that medieval structure. The result is this haunting atmosphere that's chilling yet elegant in a classical meets pagan sense. "Cabin Lights" and opener "Altars of Moss" are majestic to the point of standing in awe of what this duo has accomplished. I absolutely love what these guys have created. Suspended in the Brume of Eos is one of those unique standout releases of 2011. Renaissance Fairies need not apply.

Metal Reviews (Jake)
"Surprise of the Month"
Suspended in the Brume of Eos is the superb debut album from Minneapolis band Obsequiae, who just might be the first U.S. act to stand a chance of making a difference in black metal. (Cry me a river, Liturgy). They're arguably not quite a black metal band—they're closer to folk metal on paper. Nevertheless, the meat and bones of their album is trebly tremolo riffs burning through classical European scales over relentless snares and beneath an incomprehensibly reverberating emotive screech; isolate the stuff from context and it could probably hang with the Trve Kvlt. There are no keyboard parts here, though, no organs or strings; and no grandstanding pomposity or oh-so-scary-tough-guy dissonance. In place of all the usual noise, you'll find acoustic folk interludes rooted in medieval music rather than the more common Pagan or Celtic, trading off with gently blistering guitar-bass-drums metal that stretches those scalar ideas over the rhythmic energy of the great British metal bands and filters it all through a cold, spare atmosphere. The resulting sound is one made of strikingly coherent melodies, and defiantly so. I'm not one to decry wholesale the invasion of the dreaded hipster into the metal culture, but it is true that a small army of “forward-thinking” metal musicians, most of them Americans in hoodies, have been breaking the same rules in the same ways for so long that by now we all know exactly what “breaking the rules” means and sounds like. Obsequiae have broken those rules, eschewing sleepy ambience and jagged rhythms to create a sound that's highly listenable, intricate rather than excessive, and genuinely cutting-edge.

From The Dust Returned (Autothrall)
Obsequiae is essentially a reconvening of the Minnesota project Autumnal Winds, who produced a stream of demos in the last decade that led to a brief hiatus, Blondel de Nesle's work in the rustic funeral doom act Celestiial just beginning to take off. Those who are expecting a similar drone-based, spacious and grim exercise in stark natural minimalism might be very surprised here, because if anything, Obsequiae is a cogent study in heavily melodic, unending floods of Medieval/folk guitars drifting atop simpler beats and rasped vocals, almost an antithesis of Celestiial, anchored by the rhythmic skill of multi-instrumentalist Neidhart von Reuental (and no, I do not have a clue if these are their real names).

Suspended in the Brume of Eos is a substantial effort, defined through its contrast of lush acoustic segues and driving, fell glories that feel decidedly European in origin. Obviously the nearest parallel one would find would be the pagan/folk metal genre from overseas, but I liken the material most to the track "Moonshield" by In Flames (before they got all metrosexual). An excellent song, and perhaps an unexpected comparison that many would scoff at, but imagine that track's winding and beautiful string melodies being woven throughout 42 minutes of new, original material, wrought between lovely acoustic shorts like "Sidhe", "Wildes Heer", and thundering, desperate romps like "Altars of Moss", "In the White Fields" and the night overwhelming instrumental "Cabin Lights" which had my thoughts reeling towards the past with its crescendos of dual melody. The duo also provides a basis of straight, aggressive black metal as in "Arrows", which is more of a wall of sound chord onslaught, so there is enough variation here that it doesn't feel like the same gilded guitar graces repeated into monotony.

The production is fluent without being excessively polished, and here is where the band's own rustic tendencies shine, for there's this natural backbone. It's very easy to close one's eyes during this offering and conjure up images of knights and ladies fair gallivanting through the woods, often in bliss and harmony, but often with their heels set upon by the jaws of raving wolves. I can't say I was a huge fan of the vocals here, because they're simply all too common contrasted with the more engrossing and eloquent guitar licks, but in tandem the two function as intended. Suspended in the Brume of Eos is easily recommended for fans of the seasonal and rural in their black metal, perhaps a dash of earlier Agalloch (Pale Folklore or The Mantle era), Opeth circa (Morningrise), or Canadians Woods of Ypres (only Obsequiae is far superior to that lot by any conceivable standard). You're not likely to hear much in a similar vein this year, and this full-length should evolve into an album of choice for fall foliage sightings and stirring regrets. Score another sleeper for Bindrune Recordings. Verdict: Win [8/10]

Heavy Metal Tribune (Hong Rui)
Obsequiae is certainly no newcomer to black metal, having existed as Autumnal Winds from 1998 to 2005, before going on a hiatus and subsequently returning in their current form. While Autumnal Winds saw the band releasing only demos, the band has wasted little time as Obsequiae, with Suspended in the Brume of Eos being their debut full length album after a highly acclaimed demo in 2009. Released under Bindrune Recordings, which also brought fans of atmospheric black metal albums by bands like Fall of Rauros and Shroud of Despondency, personal expectations for this album are definitely pretty high.

Similar to bands on the Bindrune Recordings roster, Suspended in the Brume of Eos is a dark and atmospheric journey, with a heavy atmosphere to go along with the elements of black metal that are littered throughout the album, despite the "melodic dark metal" tag that is given to them, which was, personally, the main reason for avoiding this album initially. A myriad of guitar riffs greet the listener as the album begins with Altars of Moss, bringing listeners back to the medieval era as the two lead guitar melodies intertwine beautifully, at times harmonising to complement each other, yet at other times playing completely different tunes and still retaining that melodic edge to the music. The unconventional guitar lines and melodies that are unleashed by the band could possibly put listeners off at first, but this is what makes the music of Obsequiae so unique, and what makes no two tracks on the album sound the same, although similar themes may recur at times. Arrows then stands out from the rest of the tracks as it displays the technical brilliance of the axe-wielding duo, introducing listeners to the song via shred-friendly solos, reminiscent more of neo-classical bands instead. Blondel's bellows are harsh and at times desperate, yet at the same time manage to have that soft feel to them, fitting comfortably with the rest of the instruments.

What makes Suspended in the Brume of Eos such an enjoyable album as well is the ability to let each individual instrument shine on the album. Besides the twin lead guitar harmonies already mentioned, the drumming on the album deserve mention. The creative usage of the various toms and cymbals, Neidhart has managed to make the drums more than just a rhythm instrument. In addition, the big production tone of the drums has also made songs sound even more epic than they already are, providing for a pleasurable listening experience for suckers of dark, yet epic metal. The rumbling bass also remains audible throughout the recording and while mostly nothing unique, provides the backbone of the overall sound of Suspended in the Brume of Eos. On tracks like the title track though, the importance of the bass in maintaining the overall melody of the album becomes more evident. There are also the usages of other instruments and sound effects, such as the tolling of the bells on the title track.

Obsequiae has also included numerous interlude tracks throughout the album, yet these tracks stand out in their own manner, with each of them displaying the talents and abilities of the two masterminds behind the band. As per atmospheric metal bands, the prominence of the acoustic guitars is evident, with interlude tracks like Sidhe and Wildes Heer being purely acoustic guitar driven tracks. These interludes also provide nice links between the songs that come before and after them, and at times manage to surprise listeners as the next song begins, like the odd riffs on In the White Fields.

Suspended in the Brume of Eos is certainly recommended for fans of atmospheric, epic music with elements of extreme metal, as well as for fans of bands who have previously released albums under the Bindrune Recordings banner as the album fits snugly into the roster of the label with their take on metal. 8.7/10

Meat Mead Metal (bkrasman)
Obsequiae may seem like a new band to most since their album “Suspended in the Brume of Eos” is their first official full-length, but this group is anything but a couple of rookies. The band actually has been around since 1998, when they were called Autumnal Winds, and they released a handful of demos and a compilation before they went on hiatus from 2005 to 2007. Now under their new moniker, guitarist/vocalist Blondel de Nesel and drummer/bassist/guitarist Neidhart von Reuental unleash their dark, Medieval-flavored castle metal with hands clearly grabbing pieces from late ’70s/early 80s’ power metal. It’s a pretty cool combination that I’ve found a nice setting for tackling the “Game of Thrones” books that I’m a decade and a half late in reading.

“Suspended,” which follows their well-received 2009 demo, sounds like what it might if early Iron Maiden and Emperor (minus the orchestral stuff) were sucked into some sort of wormhole and found themselves mashed together in the studio. Much of the guitar work is glorious and riveting, making it easy to envision a horse-back adventure toward the nearest tournament, and the vocals are savage and screeching, keeping the black metal aesthetic very much in the picture. One slight drawback to me is there are a few too many acoustic interludes in the 12-track count, and they sometimes feel like they’re there to bloat the running time. But really, that’s a minor quibble for me, because when they’re letting the axes fly, it’s pretty damn exciting. Opener “Altars of Moss” has solid lead lines and intricate melodies that sound like they were born for air guitar; the title track had a mid-section that just crushes you with manic thrashing and could be the one moment in a live setting where you might get your knee ligaments torn shredded; “Arrows” blows right up from the start, and it’s the most aggressive thing on this whole collection, leading headlong into “The Starlit Shore.” It’s a kick-ass record that’s more up-tempo and in your face than most Bindrune albums, but it’s nice to have them on the roster. I think you need that screaming hellion that interrupts your mental tranquility so you don’t get too soft. Obsequiae provide that like a spiked metal ball to your exposed rib cage.

Hammer Smashed Sound (Krumbled Kookie)
You may be familiar with Tanner Anderson from his work with the amazing Celestiial, which we've covered here before. With the debut full-length from Obsequiae soon to hit shelves, Anderson will be showing that he's clearly not a one-trick pony (something that should have been obvious already).

Obsequiae (which also features Neidhart Von Reuental on drums, bass, and guitars) released one demo in 2009, a cassette on Bindrune, but functioned prior to that as Autumnal Winds, which released a number of demos dating back to 1998, when the band formed. The 2009 demo featured 3 songs that made myself and many others anxious for a full-length album to be released, and now that it is here, we see it was very well worth the wait.

I'd heard this band referred to as Medieval Dark Metal, and that never really rang true to me until I heard this album. One need only listen to the first couple of songs to understand why; it's quite easy to imagine the riffs and lead work (both of which are out of this world) being played on flutes and violins in the middle of the ancient forests of Europe. The songs are well-written, melodic, and played with a boundless precision.

Since I started listening to this, I felt like I probably should have heard something like before - the triumphant melodies, near-technicality of the guitar work, and commanding vocal performance seems like such an obvious formula for a great record. We may have heard bits and pieces of this in other bands (Agalloch comes to mind for some reason, though this sounds nothing like Agalloch), but the pieces have never, to my knowledge, been put together like this, composing such a powerful and poignant package. What we have here is a thoroughly and immensely enjoyable record, one that we'll be able to enjoy for years to come. I've only just received this one, and I already can't wait to hear more from this band.

Metal Army (Metal George)
Evoking atmospheres of majestic castles and grandiose court gatherings, the oddball Minnesotan outfit known as Obsequiae gather together a bevy of legit influences to create a unique and intriguing musical melting pot.

While upon the surface, Suspended in the Brume of Eos may seem like black metal, the level of musicianship and creativity makes Obsequiae sound like more than your average group o’ corpse-painted blasphemers. Guitars crisscross each other constantly, creating masterful melodies and counterpoint structures which are simply engaging and gorgeous to the ear. Vocally, things are pretty much a hollow-sounding scream, but the overwhelming medieval atmosphere bowls over the listener with a sound of which Obsequiae can truly be proud.

Elements of Summoning and Rotting Christ can be picked out here and there from Brume, primarily within the album’s unorthodox flow and unique riffing style. The album never comes across and indebted to any particular band or genre, however, choosing instead to walk its own proud path of sturdy, impenetrable metal; a class act of somber, yet masterfully bombastic music which should serve to impress even the most hardened, been-there/done-that brand of fan. Obsequiae are really on to something here…let’s just hope people are listening.

The Inarguable (Jon)
To put it lightly, Minnesota musician Tanner Anderson "knows what's up." After releasing Celestiial's opus Where Life Springs Eternal, one of my favorite albums of last year, one would normally expect a few years of silence before hearing anything from the Anderson camp, but that simply is not the case. Anderson's "new" band, Obsequiae, a continuation of his older Autumnal Winds project (a nostalgic favorite), proves that he is a brute force in the underground US metal scene; able to crank out beyond-quality albums year after year.

Obsequiae's debut full-length, the incredibly impressive Suspended in the Brume of Eos explores an area of folk-tinged black metal that most people either a) try and fail miserably or b) are too afraid to even attempt for fear of being called cheesy. Yes, whenever black metallers miscegeneate with medieval-styled music, it normally spells for something that isn't terribly unlike a distorted Castlevania soundtrack, yet Obsequiae's spidery, complex guitar harmonies create something a bit more genuine. A music nerd myself, at times I recognize early organum (early polyphony) practices within the guitar interplay, creating interesting, ancient polyphonic textures. This reverence for pre-Renaissance music practices is definitely something into which more artists should look, rather than just sort of "throwing in some harpsichords" and calling it a day. There is more to writing periodic music than just mimicry; one needs to understand its practices, which Obsequiae performs flawlessly.

What really makes this album for me is the powerful, punchy bass. Most complex, folky metal artists like Obsequiae tend to forego memorable bass tracks for even more layers of guitar when the bass itself adds loads to the aggressive nature of the music. It's that extra, rumbling low-end "kick in the gut" that sets Obsequiae apart from other, seemingly forgettable "medieval metal" bands.

Triumphant and obscure, Obsequiae's texturally complex, almost-technical approach to medieval-tinged black metal is, in this reviewer's opinion, highly enjoyable and unique. The band's uncanny ability to hold my attention throughout the 41-minute, twelve song album when I normally shy away from more European-styled folk metal is definite proof of this Minnesota duo's strong, uncompromising songwriting abilities. Suspended in the Brume of Eos's pristine atmosphere will be released on Bindrune Recordings later this month.

Absolute Zero Media (Clint Listing)
Classical Blackened Prog metal is what this comes to mind with as I listen to it. I was honored enough to get to hear a few early tracks from this band as Tanner of the band gave me this special glimps and all I can say is the final product is even better. Do you remember bands like Ophthalamia and Sabbat (UK) those two projects most come to mind when listening to that with some elements of Summoning and older Haggard . I will say this is like not much I've heard in some time . The medieval and pagan elements mix in almost completely to the Blackened metal sound that presents itself before us with heavy elements of prog rock and neofolk . There is a thrashing side of Obsequiae as well that reminds me very much of Slough feg as well. Again this is one of those very special releases on Bindrune and its needed to be heard in its complete and full glory to understand all that is going on within and without the stories, hymns and songs throughout. With just as strong an ambiance and metallic overtone this will be something that will cross many boundaries and genres of music.. It is time once more to place the armor on and ride into the impending battle for valor,kingdom and freedom.. We have a very noble release here.