In the Woods… are one of those band that any self-respecting metal head has heard of but probably hasn’t heard. The main reason for this is because it’s difficult to place the band in respect of who they are and what they do. Progressive black metal is a whole sub-genre now, but back in 1993 this band helped shape it, but even that isn’t the whole story. Strongly influenced by folk and psychedelic music, the band lean more towards King Crimson or Pink Floyd and I detect hints of Caravan in there too. Clean vocals (mostly sung in English and sometimes spoken) are juxtaposed against black metal howls ands shrieks, acoustic folk melodies jar against black metal tremolo picked riffs, slow, doom-like rhythms crash into blast beats, and amongst the carnage female vocals waft superb harmonies that speak of something ancient and mysterious. Atmosphere seeps through every moment of their music and there are numerous ambient sections full of synths, chants, and choirs.
Their 1993 demo, Isle of Men, was a huge hit when it was released and it laid the groundwork for the classic, iconic, Heart of the Ages (1995). Two further albums followed, Omnio (1997) and Strange in Stereo (1999) that were both rich in experimentation. However, in 2000, the band split, seemingly forever.
Following the tragic death of founding guitarist Oddvar A.M. (aka Oddvar Moi) on May 13, 2013, drummer Anders Kobro revived the band in 2014 and got the Botteri twins from the original core line-up back on board. They were joined by new vocalist James Fogarty and guitarist Kåre André Sletteberg. This new line-up released Pure in 2016, but the band entered a phase of line-up changes. Despite this Cease the Day was released in 2018, and despite releasing Diversum in 2022, vocalist James Fogarty left the band in December 2021.
More line-up changes followed but finally the band settled down and the musicians on Otra are Anders Kobro (drums and the only original member left), Bernt Fjellestad (vocals), Kåre André Sletteberg (guitars, keyboards), Bernt Horne Sørensen (guitars), and Nils Olav Drivdal (bass).
The tracks of Otra are full of catchy and captivating melodies shot through with progressive elements and the occasional blast of black metal vibes. The songwriting is mature and engaging and lyrically the album focuses on stories connected to the river Otra, which lies in the South of Norway and spills into the Skagerrak, the strait that separates the country from Denmark and Sweden, at the band’s home in Kristiansand.
The 47 minute opus starts with The Things You Shouldn’t Know, which begins with acoustic picked guitars, synths, and clean vocals. The constant refrain of ‘The Things You Shouldn’t Know’ is the backbone of the song and is catchy as hell. A blast of violent riffing gives way to a mid-paced, almost doomy verse, but the riff is huge and contrasts nicely against the clean sung vocals reminiscent of Caravan. Synths dominate the song and juxtapose well against that riff when it rears its head. It’s a great way to start the album and the progressive feel gives way to black metal vocals which themselves are set against some titanic chords (and some galloping rhythms) and a nice guitar solo. There are moments when this track hints at Enslaved but there’s a definite and unique In the Woods… feel throughout. As the song progresses the black metal vibe rises to the surface and we get some wonderful tremolo picked guitars before that falls back into the verse and those clean vocals. The contrasts in this track sum up the album as a whole and it’s very pleasurable – you’ll be humming the verse for hours to come.
A Misrepresentation of I barges straight into a fast riff driven intro backed by synths and great fills on the drums. The song continues with growling vocals which give way to clean vocals and a lovely soaring chorus. This track is more firmly progressive metal and it’s busy combining the contrasts of the differing vocals and the battle going on between the synths and guitars. Another song of contrasts, but what steals the show is that chorus, sometimes backed by female vocals which gives it a wonderful lift. Overall, there’s an American feel to it mixed with a definite 80s feel. I have to say that the song surprised me, knowing the In the Woods… discography well, it’s something new, well, to me it is!
The Crimson Crown is all moody piano and synths before breaking into a heads down, no nonsense riff, reminiscent of 80s heavy metal. The synths are loud on this track (too loud?) but never-the-less the track breaks down into a bass/drum, mid-paced section of clean vocals and chiming guitars. The influence of King Crimson is evident here (the title a nod to them, perhaps?). We get some great growling vocals, again juxtaposed against the clean stuff. The griffin gin this section even drowns out the synths and it’s all very post-black metal. I suppose that this album perfectly shows the new, mature black metal that has emerged in the past few years. A black metal not obsessed with raw production, tremolo picked guitars, blast beats, and shrieking vocals. This is measured and well produced, demonstrating guitars breaks, glorious synth melodies, and constant contrasts between the clean and harsh.
The Kiss and the Lie is a mid-paced track that has a new wave feel to it, think The Police but more edgy. The vocals are really great on this track (actually throughout the album), and when the song takes off we get the growls/shrieks which perfectly blend from the clean vocals. It’s very well done. On this track the black metal vocals are not backed by black metal sounding guitars, but rather the guitars are firmly placed in the metal/progressive metal sounding vaguely 80s in their style. There is some great guitar interplay and again this flows organically from the preceding chorus. A shout out too, to the drums, wonderfully played and a driving presence throughout the track.
Let Me Sing starts with a atmospheric synth-laden, doomy vibe, but that all gives way to a dissonant, black metal lead, reminiscent of the French scene in the early 2000s. That all breaks into King Crimson like verse before a man riff emerges, all 80s heavy metal chords backing up that dissonant lead. Another great vocal performance, totally clean and controlled. The progressive elements of this album are, perhaps, shown most on this track. Changes of tempo, key, and emphasis every few minutes. The track picks up and we get both harsh and clean vocals competing for attention. The dissonant lead is what makes this track both interesting and urgent. It seems out of place, but actually totally natural – yes, that’s complicated but this is what the album is about. It’s mature and confident not resorting to cliche or tired, worn-out ideas. The chorus is quite inspiring and elegant and marks this as a stand out track.
Come Ye Sinners gives us the atmospheric start we are accustomed to on this album, all piano, synths, and acoustic guitars. Naturally, we get a contrast, a fabulous black metal dream, riffing all over the place, and manic drums. This momentary loss of control gives way to a clean verse, but the growls are soon back. The whole track plays out this battle, a micro’s of the whole album, the clean, controlled against the harsh, chaotic music. Ultimately, we get a clean victory as the chorus is something else, excellent melodies, great vocals, soaring guitars, and a total stadium anthem right there. The shrieks come back, supported by a barrage of drums and riffs, but the whole thing breaks down into a mid-paced, guitar led section which takes us back into the chorus. A note here, the album’s songwriting is really top notch and separates this album from the usual black metal dross and it’s all backed by brilliant musicianship. If you’re going to be progressive, make sure you can play your instruments! A punishing riff ends the track, which speeds up and slaps us around the face for a bit before finishing. Great stuff!
The Wandering Deity starts with a picked guitar over synths and cymbals – all very King Crimson, think Epitaph! There’s a lovely guitar lead that shadows the clean vocal but that explodes into a driving riff backed by a huge synth sound and pounding drums. The shrieks return but again not backed by the music – a wonderful contrast. It’s all very urgent and punishing and then the clean vocals take it to another level – man, this guy can sing. The song, like the album shows the influences of the band, heavy metal, progressive, psychedelic, and of course, black metal. It’s a heady concoction, but one which they get absolutely right.
Otra demonstrates strength and artistic maturity and furthermore is highly pleasurable to listen to. The progressive elements make for an interesting and rewarding listen, with intricate twists and turns throughout. It’s an album designed around contrasting very different styles of music together and I think they do a marvellous job of it. In the Woods… my not be everyone’s cup of tea, but this is an album you should listen to. Do I like it? I’ve already preordered it! Cheers!
Band: In the Woods…
Album title: Otra
Release date: April 11, 2025
Style: Avant-garde metal
Label: Prophecy Productions
Tracklist
1. The Things You Shouldn’t Know
2. A Misrepresentation of I
3. The Crimson Crown
4. The Kiss and the Lie
5. Let Me Sing
6. Come Ye Sinners
7. The Wandering Deity
Guest musicians
Alf Erik Sørensen – additional keyboards
Hector Montero – additional synth
Mixing & mastering by Frédéric Gervais at Studio Henosis, Bois d’Arcy (FR)
Artwork & layout by Seiya Ogino (Ogino Design)
Available formats
Otra is available Digipak CD, as a 2CD 36-page art-book, as a Gatefold black vinyl LP, as a Gatefold velvet purple vinyl LP, and as a Gatefold marbled Dracula red & black vinyl LP.
Support the band on Bandcamp here: https://in-the-woods.bandcamp.com/album/otra
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