Cloak is often described as so-called black 'n' roll band, a band combing black metal stylistics with rock music. However, I would rather describe the quartet's debut full length To Venomous Depths as melodic black metal oozing with a gloomy atmosphere that could also please gothic metal fans.

The record has a quite original sound. Cloak plays a mid-paced and at times even slow type of black metal that flirts with doom metal stylistics and develops a truly numbing atmosphere. The guitar riffs aren't as cold and crisp as one might expect and are rather inspired by traditional heavy metal which makes this album sound more accessible than other black metal releases. The guitar melodies are surprisingly harmonious and especially the few solos stand out in that regard. Smooth sound effects, occasional acoustic guitar harmonies and smooth string passages add more depth and diversity in the calmer tracks. The material recalls the more ambitious material of bands like Dissection, Watain and especially Tribulation but fans of Katatonia and Opeth might also give it a try. There aren't any particularly outstanding tracks but the release has great flow and convinces with a mysterious atmosphere from start to finish.

If you like melodic black metal that focuses on atmosphere rather than brutality, you can give Cloak's To Venomous Depths a try. Fans of doom and gothic metal should also appreciate this type of music. It's surprising that a quartet from sunny Atlanta has created this gloomy type of music but the quartet has succeeded very well and managed to create its own unique style right from the start. One should definitely keep an eye on these talented youngsters in the future as this debut record already shows a lot of creativity, identity and talent.

Final rating: 82%

Deathwhite is a quite unusual band. Not because the identities of the members remain a mystery since this has become quite trendy in the metal scene as we speak. No, the band's sound is actually quite intriguing. It sounds like a mixture of alternative rock, gothic rock and post-metal. Imagine the vocal lines of Alter Bridge that seem to be performed by an emotive teenager, the numbing riffs of Katatonia and a few atmospheric breaks and acoustic passages in the key of Opeth and you have a quite good idea what For a Black Tomorrow sounds like. The moody cover artwork is also a solid indicator for the type of music offered here.

This unique combination of styles lets the band stand out and is Deathwhite's biggest advantage. The different genre elements blend in surprisingly well from an objective point of view even though the emotive vocals really aren't my cup of tea. The big question is who is going to listen to such an album. Alternative rock fans might find the record too repetitive and depressive, gothics will find some of the melodies too catchy and direct and post-metal supporters might complain about the somewhat streamlined songwriting, the lack of heaviness and the short lengths of the different tracks. Deathwhite's particular style could kick off a whole new sub-genre because of its creativity but it could also implode by its sheer weirdness. The album title almost seems to reference this thin line as if the band weren't sure whether tomorrow will come or whether it will all drown in darkness anyway. It might actually be something in between.

Listening to Deathwhite's For a Black Tomorrow is certainly an intriguing experience. You need to be ready to think outside the box to find an emotional connection to this release that mixes alternative rock, gothic rock and post-metal elements. If you like some depressive rock music for a rainy autumn afternoon, this album delivers the perfect soundtrack for you. Even the production manages to sound grey and unremarkable. This album unfolds its potential in such particular situations but is otherwise somewhat difficult to appreciate. You need to be in the right mood to appreciate this release because the sum is bigger than the parts that are performed rather unspectacularly.

Final rating: 70%

Barque of Dante is a Chinese power metal band that has collaborated with different international vocalists in the past. Alchemist features Swedish singer Robin Lundgren on lead vocals as well as Argentinian singer Inés Vera-Ortíz as duet partner and backing vocalist while the drums are played by skilled South African Aquiles Priester.

Alchemist is the band's greatest release so far. It keeps the band's European power metal influences but adds some very positive elements to it. The production sounds more organic and melodic than before. Session musician Jason Hou adds some atmospheric keyboard sounds at the right moments that give the record an epic identity. Aquiles Priester truly delivers the goods on the drums and strengthens the band's instrumental backbone significantly. The guitar play has improved and recalls more neoclassical influences than before that are performed quite skillfully. Even the bass guitar is more audible than before as heard in the quite heavy and progressive ''Ocean of Dreams'' that sounds better than anything released by Dream Theater in the past few years. Flamenco acoustic guitars, Latin American percussive elements and even a few folk metal elements recalling numerous European power folk groups add some refreshing diversity to the record as witnessed in the playful and powerful ''Spread Your Wings'' to just give one precise example. 

The band's songwriting has already been solid in the past but Alchemist has more highlights as it offers everything between a five-minute instrumental track with enchanting saxophone sounds in form of ''96'' that could come from an experimental Amorphis record and conceptual tracks of epic proportions like ''The Alchemist'' that clocks in at thirteen and a half minutes and could have been written by Helloween in its most inspired moments. 

While former singers like Thomas Winkler did a great job, I have a preference for Robin Lundgren's passionate and melodic vocals that recall Scandinavian power metal bands of the nineties. Inés Vera-Ortíz' scarcely used female vocals always blend in perfectly as her voice sounds melodic but powerful and is a welcome change from the usual classically trained vocalists.

Barque of Dante have already moved on and recently hired Argentinian singer Roberto Castiglioni for future endeavors. Things remain exciting regarding this creative Chinese power metal band. If you like this genre, you should definitely give Alchemist a chance as this record marks a great leap forward for the project around founding member, bassist and guitarist Xie Zhiheng.

Final rating: 92%

Unbeing is easily the most exciting instrumental progressive metal band in the world. Since the band has gained some new popularity over the past few years and has played more and more concerts, it certainly wasn't a bad idea to release this generous compilation so early in the band's career, especially since the two studio records and one extended play are quite hard to track down and generally sold out. Trinity offers fifteen creative progressive metal pearls with an epic science-fiction vibe and a total running time just below eighty minutes. The compilation offers the brilliant conceptual EP Raptus about Montreal's metro system in its entirety, the entire instrumental version of the visionary science-fiction-themed Ceres and five out of eight songs from the already stunning self-titled debut. The songs are generally presented in chronological order except for one song from the debut that was chosen to close this atmospheric, entertaining and intellectual compilation. The brilliant cover artwork inspired by previous releases that makes me think of a Rorschach inkblot in an ocean is the cherry atop the cake.

There are several elements that make Unbeing stand out. The most important element is the futuristic atmosphere that makes the songs sound so fascinating and evoke plenty of images on your mind. Secondly, the band has great chemistry and flow as the different musicians don't only have outstanding individual skills but also manage to complete one another. Thirdly, the songs are filled with dynamic changes from fast and complex passages to slow and smooth that give the songs enough time to breathe and unfold. Atmospheric passages and technical skills are perfectly balanced. Listening to Unbeing is like going to the cinema and watching a groundbreaking science-fiction film except you listen to it instead of watching it which makes the experience even more creative for each individual.

However, there are two minor elements that I would still criticize as a fan regarding this compilation. First of all, the brilliant Ceres only unfolds its entire potential in the narrative version as the instrumental songs are very strong but meant to support a fascinating dystopian science-fiction story that is entirely missing on this compilation. Secondly, it would have been great to include at least one or two new tracks for fans who have already purchased the former releases in one form or another.

Trinity is probably only interesting for those who have never heard of Unbeing so far. If you like atmospheric progressive metal and science-fiction cinema and literature, you simply can't get around this band. I'm usually not a big fan of instrumental music but this band is a wonderful exception. You have missed out on a mind-blowing progressive metal band if you haven't checked this French-Canadian quintet out so far. Redeem yourself and purchase Trinity. You might fall in love with this unique band and want to buy the full versions of the other records shortly after as well.

Final rating: 90%

Luciferian Light Orchestra's full length record was a somewhat underwhelming occult rock project around Therion mastermind Christofer Johnsson. One and a half year later, the project released this extended play consisting of four songs that are basically leftovers from the recording sessions. However, these four songs are overall much better than expected and make for a very good release.

The project has only changed a few details here and there with these four songs but they have a significant impact on the overall sound. First of all, the songs on this record are much longer than on the full length effort. This gives the tracks the possibility to build up an enchanting, gloomy and mysterious atmosphere. The songs are also much more diversified and instruments that couldn't shine on the full length effort sound much more present on this record such as the bass guitar. The female lead vocals also work better than before and make me think of a beautiful witch that is trying to hypnotize you with her soothing vocals. Even the lyrics have improved as they still deal with occult topics but avoid cringe-worthy and repetitive passages that made the previous release sound mildly amusing. This extended play even includes the project's best song to date in form of the atmospheric, complex and intellectual closer ''Thunder Perfect Mind'' with a generous running time of seven minutes that is worth being listened to over and over again because it includes so many great changes and ideas.

After a disappointing first release, this overlooked extended play is a big step forward for the project. I was ready to give up on Luciferian Light Orchestra after listening to the self-titled debut but this blandly titled follow-up offers excellent occult rock reminding of psychedelic rock music of the seventies without sounding too old-fashioned in the new millennium. Now, I'm eager to see whether this project will release more music in the future and if it's going to be like the exciting bonus tracks or the bland regular tracks.

Final rating: 79%