Aural Hypnox, the Finnish experimental label which is one of the physical manifestation of the Helixes Collective (including a constellation of projects orbiting around more or less dark ritual ambient), picked one of the columns of the label, Aeoga, for their very first release on vinyl. The duo, which prefers to keep their real names secret in order to focus on the potentially cathartic effects of their aural experiments, formed Aeoga just one year after the label was founded and, as far as I know, all releases under Aeoga came out under Aural Hypnox imprint. Also available on a nicely packed (as usual) CD edition, 'Obsidian Outlander' is slightly different than their previous releases. First of all, its length is apter to an EP instead of an LP, but it was introduced as their fourth album so that we can't really criticize the way it got filed. The moment when they get close to their earlier rite-like outputs is the central shortest tracks of the release "The Black Loom" (the ascending and descending chanting voice spreading over ritual percussive hits are really absorbing) and "Obsidian Towering", where the previously mentioned voice turns into a sort of entranced humming while weird whispers and ghostly chirping surround it. This short ritual output gets opened by "Initiatory Boil", where a set of percussive elements (including metallic hits and what sound a sort of rolling on a metal surface) seems to crackle and pop (without boiling actually!) over an ethereal melody that becomes clearly listenable at the end of the track. One of the most entrancing moment is the following "Rot Magnetism": a deeply low frequency and an obscure subtle chant begin to fill the aural sphere before a sort of subtle whisper and other elements get gradually inoculated. According to some more or less esoteric writing, the obsidian is a ritual element that requires a process of purification before having positive effects. If it doesn't get purified, it could attract negative energies. Whether you believe or not to this kind of matters, such an ambivalence seems to be rendered in the last two tracks of this album (the fourth in Aeoga discography). Both "Outer Observatory" and the final "The Sublime Canvas" get filled with disembodied weird voices, sinister aural entities and slowly rising dark melodies (close to some stuff by Lustmord or Troum).