#ahab — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #ahab, aggregated by home.social.
-
Hab' gerade Ahab auf den Ohren. Ich bin immer wieder geplättet von der Qualität ihres Debutalbums!
#Ahab - Ahab's Oath
-
Hab' gerade Ahab auf den Ohren. Ich bin immer wieder geplättet von der Qualität ihres Debutalbums!
#Ahab - Ahab's Oath
-
Hab' gerade Ahab auf den Ohren. Ich bin immer wieder geplättet von der Qualität ihres Debutalbums!
#Ahab - Ahab's Oath
-
Hab' gerade Ahab auf den Ohren. Ich bin immer wieder geplättet von der Qualität ihres Debutalbums!
#Ahab - Ahab's Oath
-
Hab' gerade Ahab auf den Ohren. Ich bin immer wieder geplättet von der Qualität ihres Debutalbums!
#Ahab - Ahab's Oath
-
W sobotę rozpoczął się tzw. sezon na kozły, czyli możliwość legalnego zabijania samców sarny przez myśliwych. Będą mogli je legalnie mordować aż do końca września.
Myślistwo to chora, krwawa pasja.
❌ Sezon rozpoczyna się 11 maja, ale żeby miłośnicy zabijania mogli "zabawić" się jeszcze w weekend w Rozporządzeniu Ministra Środowiska jest zapis: "Jeżeli początek okresu polowań przypada bezpośrednio po dniu lub dniach wolnych od pracy, okres ten rozpoczyna się pierwszego dnia wolnego od pracy".
-
SmogLab opublikował tekst na temat Inicjatywy ustawodawczej "Uwaga Polowanie!", jest także mowa o proteście Kraków przeciwko Hunt Expo (wypowiada się prezeska naszej Fundacji).
https://smoglab.pl/nie-doczekali-sie-na-politykow-czy-obywatele-zreformuja-prawo-mysliwym/
#myślistwo #wimięzwierząt #inicjatywaustawodawcza #smoglab #zwierzęta #ahab
-
"Pozyskanie" - to jedno słowo mówi więcej, niż się wydaje. Ten myśliwski eufemizm oznacza po prostu zabicie zwierzęcia. Ale brzmi łagodniej, bardziej neutralnie. Jakby chodziło o zbiór plonów, a nie odebranie życia czującej istocie.
Taki sposób mówienia nie jest przypadkowy. To przykład tego, jak język może zniekształcać rzeczywistość i oddalać nas od prawdy. "Pozyskanie", "redukcja populacji", "gospodarka łowiecka" - wszystkie te określenia tworzą narrację, w której przemoc staje się czymś zwyczajnym, a nawet potrzebnym.
Tymczasem na zdjęciu widzimy po prostu matkę i jej dzieci (tak, zwierzęta inne niż ludzie także są matkami i także mają dzieci - to nie pojęcia zarezerwowane tylko dla Homo sapiens). Widzimy relację, troskę, życie. Dla jednych to powód do zachwytu i refleksji nad pięknem natury. Dla innych - cel.
Może warto na chwilę odrzucić eufemizmy i nazwać rzeczy po imieniu? Dopiero wtedy można naprawdę zdecydować, po której stronie się stoi.
Przyjdź 25 kwietnia na Kraków przeciwko Hunt Expo – protest przeciwko targom myśliwskim, jeśli nie stoisz po stronie zabójców zwierząt. Przyjdź, jeśli nie zgadzasz się na promowanie zabójczej myśliwskiej ideologii.
#wimięzwierząt #kraków #protest #krakówprzeciwkohuntexpo #myślistwo #ahab #antihunting #zwierzęta
-
"Pozyskanie" - to jedno słowo mówi więcej, niż się wydaje. Ten myśliwski eufemizm oznacza po prostu zabicie zwierzęcia. Ale brzmi łagodniej, bardziej neutralnie. Jakby chodziło o zbiór plonów, a nie odebranie życia czującej istocie.
Taki sposób mówienia nie jest przypadkowy. To przykład tego, jak język może zniekształcać rzeczywistość i oddalać nas od prawdy. "Pozyskanie", "redukcja populacji", "gospodarka łowiecka" - wszystkie te określenia tworzą narrację, w której przemoc staje się czymś zwyczajnym, a nawet potrzebnym.
Tymczasem na zdjęciu widzimy po prostu matkę i jej dzieci (tak, zwierzęta inne niż ludzie także są matkami i także mają dzieci - to nie pojęcia zarezerwowane tylko dla Homo sapiens). Widzimy relację, troskę, życie. Dla jednych to powód do zachwytu i refleksji nad pięknem natury. Dla innych - cel.
Może warto na chwilę odrzucić eufemizmy i nazwać rzeczy po imieniu? Dopiero wtedy można naprawdę zdecydować, po której stronie się stoi.
Przyjdź 25 kwietnia na Kraków przeciwko Hunt Expo – protest przeciwko targom myśliwskim, jeśli nie stoisz po stronie zabójców zwierząt. Przyjdź, jeśli nie zgadzasz się na promowanie zabójczej myśliwskiej ideologii.
#wimięzwierząt #kraków #protest #krakówprzeciwkohuntexpo #myślistwo #ahab #antihunting #zwierzęta
-
"Pozyskanie" - to jedno słowo mówi więcej, niż się wydaje. Ten myśliwski eufemizm oznacza po prostu zabicie zwierzęcia. Ale brzmi łagodniej, bardziej neutralnie. Jakby chodziło o zbiór plonów, a nie odebranie życia czującej istocie.
Taki sposób mówienia nie jest przypadkowy. To przykład tego, jak język może zniekształcać rzeczywistość i oddalać nas od prawdy. "Pozyskanie", "redukcja populacji", "gospodarka łowiecka" - wszystkie te określenia tworzą narrację, w której przemoc staje się czymś zwyczajnym, a nawet potrzebnym.
Tymczasem na zdjęciu widzimy po prostu matkę i jej dzieci (tak, zwierzęta inne niż ludzie także są matkami i także mają dzieci - to nie pojęcia zarezerwowane tylko dla Homo sapiens). Widzimy relację, troskę, życie. Dla jednych to powód do zachwytu i refleksji nad pięknem natury. Dla innych - cel.
Może warto na chwilę odrzucić eufemizmy i nazwać rzeczy po imieniu? Dopiero wtedy można naprawdę zdecydować, po której stronie się stoi.
Przyjdź 25 kwietnia na Kraków przeciwko Hunt Expo – protest przeciwko targom myśliwskim, jeśli nie stoisz po stronie zabójców zwierząt. Przyjdź, jeśli nie zgadzasz się na promowanie zabójczej myśliwskiej ideologii.
#wimięzwierząt #kraków #protest #krakówprzeciwkohuntexpo #myślistwo #ahab #antihunting #zwierzęta
-
"Pozyskanie" - to jedno słowo mówi więcej, niż się wydaje. Ten myśliwski eufemizm oznacza po prostu zabicie zwierzęcia. Ale brzmi łagodniej, bardziej neutralnie. Jakby chodziło o zbiór plonów, a nie odebranie życia czującej istocie.
Taki sposób mówienia nie jest przypadkowy. To przykład tego, jak język może zniekształcać rzeczywistość i oddalać nas od prawdy. "Pozyskanie", "redukcja populacji", "gospodarka łowiecka" - wszystkie te określenia tworzą narrację, w której przemoc staje się czymś zwyczajnym, a nawet potrzebnym.
Tymczasem na zdjęciu widzimy po prostu matkę i jej dzieci (tak, zwierzęta inne niż ludzie także są matkami i także mają dzieci - to nie pojęcia zarezerwowane tylko dla Homo sapiens). Widzimy relację, troskę, życie. Dla jednych to powód do zachwytu i refleksji nad pięknem natury. Dla innych - cel.
Może warto na chwilę odrzucić eufemizmy i nazwać rzeczy po imieniu? Dopiero wtedy można naprawdę zdecydować, po której stronie się stoi.
Przyjdź 25 kwietnia na Kraków przeciwko Hunt Expo – protest przeciwko targom myśliwskim, jeśli nie stoisz po stronie zabójców zwierząt. Przyjdź, jeśli nie zgadzasz się na promowanie zabójczej myśliwskiej ideologii.
#wimięzwierząt #kraków #protest #krakówprzeciwkohuntexpo #myślistwo #ahab #antihunting #zwierzęta
-
"Pozyskanie" - to jedno słowo mówi więcej, niż się wydaje. Ten myśliwski eufemizm oznacza po prostu zabicie zwierzęcia. Ale brzmi łagodniej, bardziej neutralnie. Jakby chodziło o zbiór plonów, a nie odebranie życia czującej istocie.
Taki sposób mówienia nie jest przypadkowy. To przykład tego, jak język może zniekształcać rzeczywistość i oddalać nas od prawdy. "Pozyskanie", "redukcja populacji", "gospodarka łowiecka" - wszystkie te określenia tworzą narrację, w której przemoc staje się czymś zwyczajnym, a nawet potrzebnym.
Tymczasem na zdjęciu widzimy po prostu matkę i jej dzieci (tak, zwierzęta inne niż ludzie także są matkami i także mają dzieci - to nie pojęcia zarezerwowane tylko dla Homo sapiens). Widzimy relację, troskę, życie. Dla jednych to powód do zachwytu i refleksji nad pięknem natury. Dla innych - cel.
Może warto na chwilę odrzucić eufemizmy i nazwać rzeczy po imieniu? Dopiero wtedy można naprawdę zdecydować, po której stronie się stoi.
Przyjdź 25 kwietnia na Kraków przeciwko Hunt Expo – protest przeciwko targom myśliwskim, jeśli nie stoisz po stronie zabójców zwierząt. Przyjdź, jeśli nie zgadzasz się na promowanie zabójczej myśliwskiej ideologii.
#wimięzwierząt #kraków #protest #krakówprzeciwkohuntexpo #myślistwo #ahab #antihunting #zwierzęta
-
Wyborcza publikuje wywiad z ministrem sprawiedliwości Waldemarem Żurkiem, w którym znaczna część poświęcona jest psom, stosunku do ich ubezpłodnienia, by zapobiegać bezdomności itd.
Kluczowe jest jednak coś innego, bo zdaje się, że to pierwszy tekst, w mainstreamowych mediach, w którym Żurka zapytano wprost o jego pasję."W pana opowieści sporo jest też psów myśliwskich. Jest pan myśliwym?
- Tak, ale rzadko praktykującym.Co to znaczy?
- Nie pamiętam, kiedy ostatnio byłem na polowaniu.A tak mniej więcej?
– Jakieś dwa lata temu.I kogo pan upolował?
– Sarnę albo dzika. Potrafię oprawić i przyrządzić dziczyznę.Jak został pan myśliwym?
– W technikum mieliśmy przedmiot łowiectwo. Jeździliśmy jako naganiacze podczas polowań.I kogo pan naganiał?
– Choćby zające. Dzisiaj zajęcy jest o wiele mniej niż kiedyś.Przez myśliwych?
– Nie, przez intensywne rolnictwo, liczebność lisa, a także ptaki drapieżne, które bardzo mi się podobają.Jest pan prezesem Koła Łowieckiego „Cietrzew" z Krakowa.
– Niestety, obecnie nie mam czasu, by zająć się tym tak, jak powinienem. Mimo to bronię samej idei łowiectwa. Zwolennikom i przeciwnikom polecam książkę „Rzecz o myślistwie. Za i przeciw". Potrzeba jest zdrowa kontrola populacji zwierzyny, choćby dzików, które wchodzą do miast. Dziki powodują ogromne szkody na polach uprawnych; wataha może zniszczyć pole pszenicy, kiedy ta zaczyna wzrastać i pojawia się tzw. mleczko. Wszędzie na świecie jest tak, że tam, gdzie pojawiają się szkody wyrządzone przez zwierzynę, tam rozwija się kłusownictwo. Do tego nie można dopuścić.Usłyszałem ostatnio, że ma być zlikwidowanych około 200 dzików w okolicach Otwocka. Jestem przeciwnikiem tego typu rzezi, ale to właśnie jest efekt braku dobrej gospodarki łowieckiej. Dopuszcza się do nadmiernego rozmnażania gatunku, które mogą być niebezpieczne dla ludzi, np. lochy z małymi. Zrównoważona gospodarka łowiecka to podstawa".
Serio nie ma znaczenia, czy ktoś jest z KO, PiS, Konfy czy Lewicy. Wszyscy oni tworzą tzw. Rzeczpospolitą Myśliwską.
-
W dniach 24-26.04 w Krakowie po raz kolejny odbędą się targi Hunt Expo. W tym roku, podobnie jak w ubiegłych latach, organizujemy protest.
🗓️ 25.04.2026, godz. 12:00
📍 Kraków, ul. Galicyjska 9 (chodnik przed wejściem na teren Expo Kraków)Nie zgadzamy się na promocję zabijania zwierząt, niezależnie od tego czy zabójcy traktują to jako hobby, rozrywkę czy w imię zwyrodniałej definicji "ochrony przyrody". Zwierzęta to nie trofeum!
Targi takie jak Hunt Expo to nie tylko prezentacje broni i trofeów, ale przede wszystkim miejsce, gdzie propaguje się ideologię opartą na dominacji, eksploatacji i cierpieniu zwierząt. Nie możemy milczeć, kiedy w naszym mieście organizuje się festiwal śmierci.
#wimięzwierząt #kraków #krakówprzeciwkohuntexpo #ahab #myślistwo #prawazwierząt #zwierzęta
-
Predica Sfântului Ioan Gură de Aur la Duminica a V-a din Post, a Cuvioasei Maria Egipteanca: Nimic nu este mai puternic decât rugăciunea Să se întâmple orice, totul se va îndepărta ușor prin rugăciune. Și ce este de mirat că rugăciunea poate îndepărta necazurile omenești, când ea așa de ușor stârpește și dezrădăcinează păcatul? 👉 https://c.aparatorul.md/df5n4 👈 #îngerilor #Ahab #Arhanghelilor #Duminica #Dumnezeu #Egipteanca #gură #Heruvimilor #Maria #post #predic...
https://c.aparatorul.md/df5n4 -
"Sąd Rejonowy w Starogardzie Gdańskim uniewinnił myśliwego, który zastrzelił wilka Lego objętego monitoringiem naukowym. Uznał, że śmierć zwierzęcia nie spowodowała istotnej szkody dla środowiska, a z dowodów nie wynika, by myśliwy działał umyślnie. Wyrok nie jest prawomocny".
-
OKO.PRESS: "Gęsi Bastion zostaje! Myśliwi przegrywają po długiej batalii sądowej
Cenne rozlewisko było przez lata popularnym miejscem polowań. Kiedy powołano rezerwat Gęsi Bastion, myśliwi zaskarżyli tę decyzję do sądu. Sprawa jest coraz bliżej zakończenia. Wojewódzki Sąd Administracyjny wydał nieprawomocny wyrok, odrzucając skargę myśliwych". -
OKO.PRESS: "Gęsi Bastion zostaje! Myśliwi przegrywają po długiej batalii sądowej
Cenne rozlewisko było przez lata popularnym miejscem polowań. Kiedy powołano rezerwat Gęsi Bastion, myśliwi zaskarżyli tę decyzję do sądu. Sprawa jest coraz bliżej zakończenia. Wojewódzki Sąd Administracyjny wydał nieprawomocny wyrok, odrzucając skargę myśliwych". -
OKO.PRESS: "Gęsi Bastion zostaje! Myśliwi przegrywają po długiej batalii sądowej
Cenne rozlewisko było przez lata popularnym miejscem polowań. Kiedy powołano rezerwat Gęsi Bastion, myśliwi zaskarżyli tę decyzję do sądu. Sprawa jest coraz bliżej zakończenia. Wojewódzki Sąd Administracyjny wydał nieprawomocny wyrok, odrzucając skargę myśliwych". -
OKO.PRESS: "Gęsi Bastion zostaje! Myśliwi przegrywają po długiej batalii sądowej
Cenne rozlewisko było przez lata popularnym miejscem polowań. Kiedy powołano rezerwat Gęsi Bastion, myśliwi zaskarżyli tę decyzję do sądu. Sprawa jest coraz bliżej zakończenia. Wojewódzki Sąd Administracyjny wydał nieprawomocny wyrok, odrzucając skargę myśliwych". -
OKO.PRESS: "Gęsi Bastion zostaje! Myśliwi przegrywają po długiej batalii sądowej
Cenne rozlewisko było przez lata popularnym miejscem polowań. Kiedy powołano rezerwat Gęsi Bastion, myśliwi zaskarżyli tę decyzję do sądu. Sprawa jest coraz bliżej zakończenia. Wojewódzki Sąd Administracyjny wydał nieprawomocny wyrok, odrzucając skargę myśliwych". -
W przyszły wtorek odbędzie się spotkanie zespołu zadaniowego ds. rozwiązania nadmiernej ilości dzików na terenie Miasta Krakowa. Będziemy, jak zwykle, kontrować tępą propagandę myśliwych. W ich mniemaniu najlepszą opcją jest po prostu wystrzelać dziki. Wszystkie.
Idiotyczna nazwa tego zespołu została wymyślona przez urzędników.
-
@CyberLaminat @pjakobs
Mir kommt bei fossil ausgelöster Ahab-Stimmung immer Captain Picard in den Sinn, wie er Moby Dick zitiert:
"Und er bürdete dem Buckel des weißen Wals die Summe der Wut und des Hasses der ganzen Menschheit auf. Wäre sein Leib eine Kanone, er hätte sein Herz auf ihn geschossen."
https://youtu.be/9wCVZlyzd0c -
https://www.europesays.com/uk/824268/ In Ruins – We Are All to Perish Review #2026 #30 #Ahab #convocation #DeathDoom #DoomMetal #Entertainment #EyeOfSolitude #Frayle #FuneralDoom #InRuins #Mar26 #MeuseMusicRecords #music #Review #Reviews #RomanianMetal #slow #UK #UN #UnitedKingdom #WeAreAllToPerish #WoebegoneObscured
-
In Ruins – We Are All to Perish Review By KenstrosityI think most people who meet me, either online or in meatspace, would not imagine I enjoy a genre like funeral doom. Yet, it is one of my favorites. Acts like Eye of Solitude, Convocation, Slow, Un, and Ahab rank among my top choices for the space, and Romania’s In Ruins caught my ear by treading a similar path. A duo established in 2021, with mastermind Urmuz previously engaged with a spectrum of black metal, grindcore, and death/doom acts, In Ruins prepared a tight 42-minute opus as their opening salvo into fundoom territory. We Are All to Perish, but will we remember the journey that In Ruins led to that final destination?
With some funeral doom records, you get catharsis in the form of a few well-placed outbursts of violence interspersed between large swaths of misery. This is the philosophy Eye of Solitude and Convocation often adopt. Other applications of the style prioritize moods and crushing sorrow delivered at a dirge, a uniformly funereal pace that hypnotizes as much as it depresses. Enter the eulogies of Slow and Un. In Ruins embraces the latter methodology, lumbering as a husk emptied of light and of will. It is a deeply affecting emotional foundation upon which to build, and In Ruins build upon it well. Riffs crush and linger, simple and thunderous, but here they are not the hero element. Melody and atmosphere take a higher rank, though they too dilute into a more simplified, pure state that maximizes potency while stripping away musical complexity. It is entrancing as only funeral doom records can be, and its smart writing boasts all of the natural components for a successful procession.
In Ruins – We Are All to Perish | MMR069 by In Ruins
A common element that distinguishes good and great funeral doom records from inferior specimens is a showstopper track. Slow famously invites comparison here with their incredible “Incendiare,” Eye of Solitude with “Act II: Where the Descent Began,” Convocation with “Atychiphobia,” Woebegone Obscured with “Drømmefald.” In Ruins achieves it with closer “Farewell,” and does so in the most deceptively simple way. By launching the track with excellent SWANA1-inspired melisma, and reinforcing those deep vocalizations later against mournful bells, In Ruins makes an indelible mark on my fundoom rotation. It’s slow and plodding through its first act, enacting yet another favorite motif: the two-chord riff (see Slow’s “Lueur” for a stellar example of this tactic). In its second, a weeping melody, isolated against droning choral synths and Frayle-esque backing siren song until the album’s dying rattle. It is breathtaking and morose in equal measure, but more than that, it inspires repeat spins for the express purpose of experiencing the excursion that led to this climax with greater anticipation and attention.
This, in turn, invigorates and contextualizes the songwriting of the preceding three tracks. At first, they go through all the right motions of a proper funeral doom experience, but without a strong sense of memorability to leave a lasting impression. But after the first spin, I noticed the clarity of “I’m Tired of Living in My Land” offered by its candid, unpretentious lyrics. I understood the emptiness and the apathy that colors “I Do Not Regret and I Do Not Shed Tears” in a monochrome, dull gray. Compositional foreshadowing felt more meaningful when “We’ll Depart This World for Ever, Surely” sets me up for “Farewell” once more. In this way, In Ruins crafted a record that requires repeat spins to fully appreciate, forging a double edged sword. On one side, each of the first three songs on their own still lacks the same power of the closer despite gaining substance with time. On the other hand, treated as a single unit, We Are All to Perish is a wholly successful and worthy entry into the pantheon of funeral doom.
As a competitor to the standout entities of the funeral field, In Ruins stake a viable claim with We Are All to Perish. To push further into that space and stand out, they’ll need to make each and every track—especially if there are as few as four, like so here—unforgettable in some meaningful way. “Farewell” is a great song, and features elements and ideas that, if capitalized on in future records, might guarantee In Ruins a wider audience and greater acclaim. Until then, rest easy knowing that while We Are All to Perish, we can at least enjoy the path that leads to the end.
Rating: Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: inruins13.bandcamp.com | facebook.com/InRuins.ro
Releases Worldwide: March 13th, 2026Show 1 footnote
- Southwest Asian and North African. ↩
-
In Ruins – We Are All to Perish Review By KenstrosityI think most people who meet me, either online or in meatspace, would not imagine I enjoy a genre like funeral doom. Yet, it is one of my favorites. Acts like Eye of Solitude, Convocation, Slow, Un, and Ahab rank among my top choices for the space, and Romania’s In Ruins caught my ear by treading a similar path. A duo established in 2021, with mastermind Urmuz previously engaged with a spectrum of black metal, grindcore, and death/doom acts, In Ruins prepared a tight 42-minute opus as their opening salvo into fundoom territory. We Are All to Perish, but will we remember the journey that In Ruins led to that final destination?
With some funeral doom records, you get catharsis in the form of a few well-placed outbursts of violence interspersed between large swaths of misery. This is the philosophy Eye of Solitude and Convocation often adopt. Other applications of the style prioritize moods and crushing sorrow delivered at a dirge, a uniformly funereal pace that hypnotizes as much as it depresses. Enter the eulogies of Slow and Un. In Ruins embraces the latter methodology, lumbering as a husk emptied of light and of will. It is a deeply affecting emotional foundation upon which to build, and In Ruins build upon it well. Riffs crush and linger, simple and thunderous, but here they are not the hero element. Melody and atmosphere take a higher rank, though they too dilute into a more simplified, pure state that maximizes potency while stripping away musical complexity. It is entrancing as only funeral doom records can be, and its smart writing boasts all of the natural components for a successful procession.
In Ruins – We Are All to Perish | MMR069 by In Ruins
A common element that distinguishes good and great funeral doom records from inferior specimens is a showstopper track. Slow famously invites comparison here with their incredible “Incendiare,” Eye of Solitude with “Act II: Where the Descent Began,” Convocation with “Atychiphobia,” Woebegone Obscured with “Drømmefald.” In Ruins achieves it with closer “Farewell,” and does so in the most deceptively simple way. By launching the track with excellent SWANA1-inspired melisma, and reinforcing those deep vocalizations later against mournful bells, In Ruins makes an indelible mark on my fundoom rotation. It’s slow and plodding through its first act, enacting yet another favorite motif: the two-chord riff (see Slow’s “Lueur” for a stellar example of this tactic). In its second, a weeping melody, isolated against droning choral synths and Frayle-esque backing siren song until the album’s dying rattle. It is breathtaking and morose in equal measure, but more than that, it inspires repeat spins for the express purpose of experiencing the excursion that led to this climax with greater anticipation and attention.
This, in turn, invigorates and contextualizes the songwriting of the preceding three tracks. At first, they go through all the right motions of a proper funeral doom experience, but without a strong sense of memorability to leave a lasting impression. But after the first spin, I noticed the clarity of “I’m Tired of Living in My Land” offered by its candid, unpretentious lyrics. I understood the emptiness and the apathy that colors “I Do Not Regret and I Do Not Shed Tears” in a monochrome, dull gray. Compositional foreshadowing felt more meaningful when “We’ll Depart This World for Ever, Surely” sets me up for “Farewell” once more. In this way, In Ruins crafted a record that requires repeat spins to fully appreciate, forging a double edged sword. On one side, each of the first three songs on their own still lacks the same power of the closer despite gaining substance with time. On the other hand, treated as a single unit, We Are All to Perish is a wholly successful and worthy entry into the pantheon of funeral doom.
As a competitor to the standout entities of the funeral field, In Ruins stake a viable claim with We Are All to Perish. To push further into that space and stand out, they’ll need to make each and every track—especially if there are as few as four, like so here—unforgettable in some meaningful way. “Farewell” is a great song, and features elements and ideas that, if capitalized on in future records, might guarantee In Ruins a wider audience and greater acclaim. Until then, rest easy knowing that while We Are All to Perish, we can at least enjoy the path that leads to the end.
Rating: Good!
#2026 #30 #Ahab #Convocation #DeathDoom #DoomMetal #EyeOfSolitude #Frayle #FuneralDoom #InRuins #Mar26 #MeuseMusicRecords #Review #Reviews #RomanianMetal #Slow #Un #WeAreAllToPerish #WoebegoneObscured
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: inruins13.bandcamp.com | facebook.com/InRuins.ro
Releases Worldwide: March 13th, 2026 -
In Ruins – We Are All to Perish Review By KenstrosityI think most people who meet me, either online or in meatspace, would not imagine I enjoy a genre like funeral doom. Yet, it is one of my favorites. Acts like Eye of Solitude, Convocation, Slow, Un, and Ahab rank among my top choices for the space, and Romania’s In Ruins caught my ear by treading a similar path. A duo established in 2021, with mastermind Urmuz previously engaged with a spectrum of black metal, grindcore, and death/doom acts, In Ruins prepared a tight 42-minute opus as their opening salvo into fundoom territory. We Are All to Perish, but will we remember the journey that In Ruins led to that final destination?
With some funeral doom records, you get catharsis in the form of a few well-placed outbursts of violence interspersed between large swaths of misery. This is the philosophy Eye of Solitude and Convocation often adopt. Other applications of the style prioritize moods and crushing sorrow delivered at a dirge, a uniformly funereal pace that hypnotizes as much as it depresses. Enter the eulogies of Slow and Un. In Ruins embraces the latter methodology, lumbering as a husk emptied of light and of will. It is a deeply affecting emotional foundation upon which to build, and In Ruins build upon it well. Riffs crush and linger, simple and thunderous, but here they are not the hero element. Melody and atmosphere take a higher rank, though they too dilute into a more simplified, pure state that maximizes potency while stripping away musical complexity. It is entrancing as only funeral doom records can be, and its smart writing boasts all of the natural components for a successful procession.
In Ruins – We Are All to Perish | MMR069 by In Ruins
A common element that distinguishes good and great funeral doom records from inferior specimens is a showstopper track. Slow famously invites comparison here with their incredible “Incendiare,” Eye of Solitude with “Act II: Where the Descent Began,” Convocation with “Atychiphobia,” Woebegone Obscured with “Drømmefald.” In Ruins achieves it with closer “Farewell,” and does so in the most deceptively simple way. By launching the track with excellent SWANA1-inspired melisma, and reinforcing those deep vocalizations later against mournful bells, In Ruins makes an indelible mark on my fundoom rotation. It’s slow and plodding through its first act, enacting yet another favorite motif: the two-chord riff (see Slow’s “Lueur” for a stellar example of this tactic). In its second, a weeping melody, isolated against droning choral synths and Frayle-esque backing siren song until the album’s dying rattle. It is breathtaking and morose in equal measure, but more than that, it inspires repeat spins for the express purpose of experiencing the excursion that led to this climax with greater anticipation and attention.
This, in turn, invigorates and contextualizes the songwriting of the preceding three tracks. At first, they go through all the right motions of a proper funeral doom experience, but without a strong sense of memorability to leave a lasting impression. But after the first spin, I noticed the clarity of “I’m Tired of Living in My Land” offered by its candid, unpretentious lyrics. I understood the emptiness and the apathy that colors “I Do Not Regret and I Do Not Shed Tears” in a monochrome, dull gray. Compositional foreshadowing felt more meaningful when “We’ll Depart This World for Ever, Surely” sets me up for “Farewell” once more. In this way, In Ruins crafted a record that requires repeat spins to fully appreciate, forging a double edged sword. On one side, each of the first three songs on their own still lacks the same power of the closer despite gaining substance with time. On the other hand, treated as a single unit, We Are All to Perish is a wholly successful and worthy entry into the pantheon of funeral doom.
As a competitor to the standout entities of the funeral field, In Ruins stake a viable claim with We Are All to Perish. To push further into that space and stand out, they’ll need to make each and every track—especially if there are as few as four, like so here—unforgettable in some meaningful way. “Farewell” is a great song, and features elements and ideas that, if capitalized on in future records, might guarantee In Ruins a wider audience and greater acclaim. Until then, rest easy knowing that while We Are All to Perish, we can at least enjoy the path that leads to the end.
Rating: Good!
#2026 #30 #Ahab #Convocation #DeathDoom #DoomMetal #EyeOfSolitude #Frayle #FuneralDoom #InRuins #Mar26 #MeuseMusicRecords #Review #Reviews #RomanianMetal #Slow #Un #WeAreAllToPerish #WoebegoneObscured
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: inruins13.bandcamp.com | facebook.com/InRuins.ro
Releases Worldwide: March 13th, 2026 -
In Ruins – We Are All to Perish Review By KenstrosityI think most people who meet me, either online or in meatspace, would not imagine I enjoy a genre like funeral doom. Yet, it is one of my favorites. Acts like Eye of Solitude, Convocation, Slow, Un, and Ahab rank among my top choices for the space, and Romania’s In Ruins caught my ear by treading a similar path. A duo established in 2021, with mastermind Urmuz previously engaged with a spectrum of black metal, grindcore, and death/doom acts, In Ruins prepared a tight 42-minute opus as their opening salvo into fundoom territory. We Are All to Perish, but will we remember the journey that In Ruins led to that final destination?
With some funeral doom records, you get catharsis in the form of a few well-placed outbursts of violence interspersed between large swaths of misery. This is the philosophy Eye of Solitude and Convocation often adopt. Other applications of the style prioritize moods and crushing sorrow delivered at a dirge, a uniformly funereal pace that hypnotizes as much as it depresses. Enter the eulogies of Slow and Un. In Ruins embraces the latter methodology, lumbering as a husk emptied of light and of will. It is a deeply affecting emotional foundation upon which to build, and In Ruins build upon it well. Riffs crush and linger, simple and thunderous, but here they are not the hero element. Melody and atmosphere take a higher rank, though they too dilute into a more simplified, pure state that maximizes potency while stripping away musical complexity. It is entrancing as only funeral doom records can be, and its smart writing boasts all of the natural components for a successful procession.
In Ruins – We Are All to Perish | MMR069 by In Ruins
A common element that distinguishes good and great funeral doom records from inferior specimens is a showstopper track. Slow famously invites comparison here with their incredible “Incendiare,” Eye of Solitude with “Act II: Where the Descent Began,” Convocation with “Atychiphobia,” Woebegone Obscured with “Drømmefald.” In Ruins achieves it with closer “Farewell,” and does so in the most deceptively simple way. By launching the track with excellent SWANA1-inspired melisma, and reinforcing those deep vocalizations later against mournful bells, In Ruins makes an indelible mark on my fundoom rotation. It’s slow and plodding through its first act, enacting yet another favorite motif: the two-chord riff (see Slow’s “Lueur” for a stellar example of this tactic). In its second, a weeping melody, isolated against droning choral synths and Frayle-esque backing siren song until the album’s dying rattle. It is breathtaking and morose in equal measure, but more than that, it inspires repeat spins for the express purpose of experiencing the excursion that led to this climax with greater anticipation and attention.
This, in turn, invigorates and contextualizes the songwriting of the preceding three tracks. At first, they go through all the right motions of a proper funeral doom experience, but without a strong sense of memorability to leave a lasting impression. But after the first spin, I noticed the clarity of “I’m Tired of Living in My Land” offered by its candid, unpretentious lyrics. I understood the emptiness and the apathy that colors “I Do Not Regret and I Do Not Shed Tears” in a monochrome, dull gray. Compositional foreshadowing felt more meaningful when “We’ll Depart This World for Ever, Surely” sets me up for “Farewell” once more. In this way, In Ruins crafted a record that requires repeat spins to fully appreciate, forging a double edged sword. On one side, each of the first three songs on their own still lacks the same power of the closer despite gaining substance with time. On the other hand, treated as a single unit, We Are All to Perish is a wholly successful and worthy entry into the pantheon of funeral doom.
As a competitor to the standout entities of the funeral field, In Ruins stake a viable claim with We Are All to Perish. To push further into that space and stand out, they’ll need to make each and every track—especially if there are as few as four, like so here—unforgettable in some meaningful way. “Farewell” is a great song, and features elements and ideas that, if capitalized on in future records, might guarantee In Ruins a wider audience and greater acclaim. Until then, rest easy knowing that while We Are All to Perish, we can at least enjoy the path that leads to the end.
Rating: Good!
#2026 #30 #Ahab #Convocation #DeathDoom #DoomMetal #EyeOfSolitude #Frayle #FuneralDoom #InRuins #Mar26 #MeuseMusicRecords #Review #Reviews #RomanianMetal #Slow #Un #WeAreAllToPerish #WoebegoneObscured
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: inruins13.bandcamp.com | facebook.com/InRuins.ro
Releases Worldwide: March 13th, 2026 -
In Ruins – We Are All to Perish Review By KenstrosityI think most people who meet me, either online or in meatspace, would not imagine I enjoy a genre like funeral doom. Yet, it is one of my favorites. Acts like Eye of Solitude, Convocation, Slow, Un, and Ahab rank among my top choices for the space, and Romania’s In Ruins caught my ear by treading a similar path. A duo established in 2021, with mastermind Urmuz previously engaged with a spectrum of black metal, grindcore, and death/doom acts, In Ruins prepared a tight 42-minute opus as their opening salvo into fundoom territory. We Are All to Perish, but will we remember the journey that In Ruins led to that final destination?
With some funeral doom records, you get catharsis in the form of a few well-placed outbursts of violence interspersed between large swaths of misery. This is the philosophy Eye of Solitude and Convocation often adopt. Other applications of the style prioritize moods and crushing sorrow delivered at a dirge, a uniformly funereal pace that hypnotizes as much as it depresses. Enter the eulogies of Slow and Un. In Ruins embraces the latter methodology, lumbering as a husk emptied of light and of will. It is a deeply affecting emotional foundation upon which to build, and In Ruins build upon it well. Riffs crush and linger, simple and thunderous, but here they are not the hero element. Melody and atmosphere take a higher rank, though they too dilute into a more simplified, pure state that maximizes potency while stripping away musical complexity. It is entrancing as only funeral doom records can be, and its smart writing boasts all of the natural components for a successful procession.
In Ruins – We Are All to Perish | MMR069 by In Ruins
A common element that distinguishes good and great funeral doom records from inferior specimens is a showstopper track. Slow famously invites comparison here with their incredible “Incendiare,” Eye of Solitude with “Act II: Where the Descent Began,” Convocation with “Atychiphobia,” Woebegone Obscured with “Drømmefald.” In Ruins achieves it with closer “Farewell,” and does so in the most deceptively simple way. By launching the track with excellent SWANA1-inspired melisma, and reinforcing those deep vocalizations later against mournful bells, In Ruins makes an indelible mark on my fundoom rotation. It’s slow and plodding through its first act, enacting yet another favorite motif: the two-chord riff (see Slow’s “Lueur” for a stellar example of this tactic). In its second, a weeping melody, isolated against droning choral synths and Frayle-esque backing siren song until the album’s dying rattle. It is breathtaking and morose in equal measure, but more than that, it inspires repeat spins for the express purpose of experiencing the excursion that led to this climax with greater anticipation and attention.
This, in turn, invigorates and contextualizes the songwriting of the preceding three tracks. At first, they go through all the right motions of a proper funeral doom experience, but without a strong sense of memorability to leave a lasting impression. But after the first spin, I noticed the clarity of “I’m Tired of Living in My Land” offered by its candid, unpretentious lyrics. I understood the emptiness and the apathy that colors “I Do Not Regret and I Do Not Shed Tears” in a monochrome, dull gray. Compositional foreshadowing felt more meaningful when “We’ll Depart This World for Ever, Surely” sets me up for “Farewell” once more. In this way, In Ruins crafted a record that requires repeat spins to fully appreciate, forging a double edged sword. On one side, each of the first three songs on their own still lacks the same power of the closer despite gaining substance with time. On the other hand, treated as a single unit, We Are All to Perish is a wholly successful and worthy entry into the pantheon of funeral doom.
As a competitor to the standout entities of the funeral field, In Ruins stake a viable claim with We Are All to Perish. To push further into that space and stand out, they’ll need to make each and every track—especially if there are as few as four, like so here—unforgettable in some meaningful way. “Farewell” is a great song, and features elements and ideas that, if capitalized on in future records, might guarantee In Ruins a wider audience and greater acclaim. Until then, rest easy knowing that while We Are All to Perish, we can at least enjoy the path that leads to the end.
Rating: Good!
#2026 #30 #Ahab #Convocation #DeathDoom #DoomMetal #EyeOfSolitude #Frayle #FuneralDoom #InRuins #Mar26 #MeuseMusicRecords #Review #Reviews #RomanianMetal #Slow #Un #WeAreAllToPerish #WoebegoneObscured
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: inruins13.bandcamp.com | facebook.com/InRuins.ro
Releases Worldwide: March 13th, 2026 -
Dvm Spiro – MMXXVI – Grave Review
As is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The…
#NewsBeep #News #Music #2026 #3.0 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Entertainment #funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVI-Grave #MyKingdomMusic #NihiliLocus #review #Reviews #UK #UnitedKingdom
https://www.newsbeep.com/uk/367026/ -
Dvm Spiro – MMXXVI – Grave Review
As is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The…
#NewsBeep #News #Music #2026 #3.0 #Ahab #CA #Canada #DeathDoom #Doom #DvmSpiro #Endonomos #Entertainment #funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVI-Grave #MyKingdomMusic #NihiliLocus #review #reviews
https://www.newsbeep.com/ca/399252/ -
https://www.europesays.com/ie/276482/ Dvm Spiro – MMXXVI – Grave Review #2026 #3.0 #Ahab #DeathDoom #Doom #DvmSpiro #Éire #Endonomos #Entertainment #Funeral #FuneralDoom #IE #Ireland #ItalianMetal #Jan26 #MMXXVIGrave #Music #MyKingdomMusic #NihiliLocus #Review #Reviews
-
Dvm Spiro – MMXXVI – Grave Review By Thus Spoke
As is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus Spoke
As is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus Spoke
As is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus Spoke
As is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Dvm Spiro – MMXXVI – Grave Review By Thus Spoke
As is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.
Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.
It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.
Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.
Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.
Rating: Good
#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025 -
Alex Collier's heart's desire was to replace every wealth and privilege half original soulmate twinflame with a Nazi whore of Babylon. The entire world served his wish, unanimous free-will and the winning course of action. Alex Collier is Joris Demmink and you all made his wish come true. The soulmates in poverty were never collected and put in project bluebird. #samyazathegreat #ahab #nebuchadnezzar
-
Alex Collier's heart's desire was to replace every wealth and privilege half original soulmate twinflame with a Nazi whore of Babylon. The entire world served his wish, unanimous free-will and the winning course of action. Alex Collier is Joris Demmink and you all made his wish come true. The soulmates in poverty were never collected and put in project bluebird. #samyazathegreat #ahab #nebuchadnezzar
-
God’s Funeral – El Despertar Dels Morts Review
By Angry Metal Guy
Written By: Nameless_n00b_605
Metal is full of niche genres, and within that sphere, doom metal is full of unique variations. Funeral doom, doom metal’s basement-dwelling offspring, is as impenetrable a metal genre as some of the nastiest bands in the business. Trudging, droning song structures, distorted, bellowing vocals, and (as the genre tag suggests) the vibe of being at a funeral can make for a taxing listen on a good day. Nailing all these individual elements isn’t so much a challenge as a rite of passage, but truly meshing these staples together is a skill few bands possess. God’s Funeral joins the cacophonic dirge on their first LP, El Despertar Dels Morts. Hailing from Tarragona, Spain, can their brand of Catholic-guilt-infused funeral doom make a splash in the cesspool of sadness, or is it merely a teardrop in the bucket of filth?
El Despertar Dels Morts has all the hallmarks of great funeral doom; roomy production offers space for naturalistic string arrangements and atmospheric organ playing. Lead singer Abel nails the classic funeral doom tone, with vocals that sound like they are recorded in the roomy basement of a moldy castle. The riffing from guitarists Naila and Juan is suitably churning and ominous, and Sergi’s drumming fills the deliberate void with hard-hitting playing. The kicker is that God’s Funeral nails production and musicianship, but misses the mark on nearly every level otherwise. From songwriting to editing, and from pacing to variety, El Despertar Dels Morts fumbles at every turn. In a five-track album spanning nearly fifty minutes, it is a struggle to find standout moments in a sea of nearly identical song structures, played-out riffs, and tedious vocals.
Where God’s Funeral bucks trends is in the most unfortunate places. Genre stalwarts like Ahab, DOOM:VS, and Shape of Despair feature similarly deliberate song structures, but break these up with vocal variety, melodic sections, left turns into death metal, and more. God’s Funeral eschews all of that, and the only notable moments of reprieve from the grinding, one-note style on El Despertar Dels Morts are the wonderfully rich-sounding string work that are a staple across the album, an epic organ section at the end of “Ara Que Torna El Silenci,” and the militaristic marching drum intro to “La Processó De Les Ombres.” It is telling that you have to reach for points of interest on this LP; they act like life rafts in a never-ending storm of monotony.
The back half of El Despertar Dels Morts is the strongest part of the album, if only for the fact that the songs stay under ten minutes. These last three tracks at least offer a glimpse at what God’s Funeral could be capable of with a lot more editing. “Fossa Comuna” is the standout track that exemplifies the best of what the band can do. An atmospheric bass intro leads to an actual beat that surpasses the downright sleep-inducing tempo of previous tracks, and the drumming sounds alive for once, finally helping a track rise above the sub-50 bpm droning that drags across the entire LP. While having an album that sounds similar throughout isn’t necessarily a negative, especially when that one song is a ripper, God’s Funeral missed the memo. Telling apart individual tracks on El Despertar Dels Morts is downright challenging. It pains me to be so negative about a band that is invested in their craft and obvious worshippers at the doom altar. God’s Funeral is so close on many levels, but it leans into genre tropes so intensely that they become repellent.
El Despertar Dels Morts is, finally, a monotonous listen that feels more like prepping for bed as opposed to reveling in the big sleep. Funeral doom is slow, it is atmospheric, it is crushing, and God’s Funeral does an admirable job attempting to turn these elements into a cohesive album. But the band draws from the same well too often, leaving El Despertar Dels Morts stylistically empty. In a genre that is already difficult to break into as a band and a listener, God’s Funeral has all the makings of a great addition to the pantheon, but it fails in the most fundamental elements. The band can play well, and the album sounds great from a production standpoint, but the most important part, the songwriting, sags at every turn. Fans of funeral doom may find some choice moments or good background listening with El Despertar Dels Morts, but unless you love the genre, this album won’t change any hearts.
Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: godsfuneral.bandcamp.com | instagram.com/godsfuneral.band
Releases Worldwide: August 15th, 2025#2025 #Ahab #Aug25 #DoomMetal #DoomVS #ElDespertarDelsMorts #FuneralDoom #GodSFuneral #MeuseMusicRecords #Review #Reviews #ShapeOfDespair #SpanishMetal
-
God’s Funeral – El Despertar Dels Morts Review
By Angry Metal Guy
Written By: Nameless_n00b_605
Metal is full of niche genres, and within that sphere, doom metal is full of unique variations. Funeral doom, doom metal’s basement-dwelling offspring, is as impenetrable a metal genre as some of the nastiest bands in the business. Trudging, droning song structures, distorted, bellowing vocals, and (as the genre tag suggests) the vibe of being at a funeral can make for a taxing listen on a good day. Nailing all these individual elements isn’t so much a challenge as a rite of passage, but truly meshing these staples together is a skill few bands possess. God’s Funeral joins the cacophonic dirge on their first LP, El Despertar Dels Morts. Hailing from Tarragona, Spain, can their brand of Catholic-guilt-infused funeral doom make a splash in the cesspool of sadness, or is it merely a teardrop in the bucket of filth?
El Despertar Dels Morts has all the hallmarks of great funeral doom; roomy production offers space for naturalistic string arrangements and atmospheric organ playing. Lead singer Abel nails the classic funeral doom tone, with vocals that sound like they are recorded in the roomy basement of a moldy castle. The riffing from guitarists Naila and Juan is suitably churning and ominous, and Sergi’s drumming fills the deliberate void with hard-hitting playing. The kicker is that God’s Funeral nails production and musicianship, but misses the mark on nearly every level otherwise. From songwriting to editing, and from pacing to variety, El Despertar Dels Morts fumbles at every turn. In a five-track album spanning nearly fifty minutes, it is a struggle to find standout moments in a sea of nearly identical song structures, played-out riffs, and tedious vocals.
Where God’s Funeral bucks trends is in the most unfortunate places. Genre stalwarts like Ahab, DOOM:VS, and Shape of Despair feature similarly deliberate song structures, but break these up with vocal variety, melodic sections, left turns into death metal, and more. God’s Funeral eschews all of that, and the only notable moments of reprieve from the grinding, one-note style on El Despertar Dels Morts are the wonderfully rich-sounding string work that are a staple across the album, an epic organ section at the end of “Ara Que Torna El Silenci,” and the militaristic marching drum intro to “La Processó De Les Ombres.” It is telling that you have to reach for points of interest on this LP; they act like life rafts in a never-ending storm of monotony.
The back half of El Despertar Dels Morts is the strongest part of the album, if only for the fact that the songs stay under ten minutes. These last three tracks at least offer a glimpse at what God’s Funeral could be capable of with a lot more editing. “Fossa Comuna” is the standout track that exemplifies the best of what the band can do. An atmospheric bass intro leads to an actual beat that surpasses the downright sleep-inducing tempo of previous tracks, and the drumming sounds alive for once, finally helping a track rise above the sub-50 bpm droning that drags across the entire LP. While having an album that sounds similar throughout isn’t necessarily a negative, especially when that one song is a ripper, God’s Funeral missed the memo. Telling apart individual tracks on El Despertar Dels Morts is downright challenging. It pains me to be so negative about a band that is invested in their craft and obvious worshippers at the doom altar. God’s Funeral is so close on many levels, but it leans into genre tropes so intensely that they become repellent.
El Despertar Dels Morts is, finally, a monotonous listen that feels more like prepping for bed as opposed to reveling in the big sleep. Funeral doom is slow, it is atmospheric, it is crushing, and God’s Funeral does an admirable job attempting to turn these elements into a cohesive album. But the band draws from the same well too often, leaving El Despertar Dels Morts stylistically empty. In a genre that is already difficult to break into as a band and a listener, God’s Funeral has all the makings of a great addition to the pantheon, but it fails in the most fundamental elements. The band can play well, and the album sounds great from a production standpoint, but the most important part, the songwriting, sags at every turn. Fans of funeral doom may find some choice moments or good background listening with El Despertar Dels Morts, but unless you love the genre, this album won’t change any hearts.
Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: godsfuneral.bandcamp.com | instagram.com/godsfuneral.band
Releases Worldwide: August 15th, 2025#2025 #Ahab #Aug25 #DoomMetal #DoomVS #ElDespertarDelsMorts #FuneralDoom #GodSFuneral #MeuseMusicRecords #Review #Reviews #ShapeOfDespair #SpanishMetal
-
God’s Funeral – El Despertar Dels Morts Review
By Angry Metal Guy
Written By: Nameless_n00b_605
Metal is full of niche genres, and within that sphere, doom metal is full of unique variations. Funeral doom, doom metal’s basement-dwelling offspring, is as impenetrable a metal genre as some of the nastiest bands in the business. Trudging, droning song structures, distorted, bellowing vocals, and (as the genre tag suggests) the vibe of being at a funeral can make for a taxing listen on a good day. Nailing all these individual elements isn’t so much a challenge as a rite of passage, but truly meshing these staples together is a skill few bands possess. God’s Funeral joins the cacophonic dirge on their first LP, El Despertar Dels Morts. Hailing from Tarragona, Spain, can their brand of Catholic-guilt-infused funeral doom make a splash in the cesspool of sadness, or is it merely a teardrop in the bucket of filth?
El Despertar Dels Morts has all the hallmarks of great funeral doom; roomy production offers space for naturalistic string arrangements and atmospheric organ playing. Lead singer Abel nails the classic funeral doom tone, with vocals that sound like they are recorded in the roomy basement of a moldy castle. The riffing from guitarists Naila and Juan is suitably churning and ominous, and Sergi’s drumming fills the deliberate void with hard-hitting playing. The kicker is that God’s Funeral nails production and musicianship, but misses the mark on nearly every level otherwise. From songwriting to editing, and from pacing to variety, El Despertar Dels Morts fumbles at every turn. In a five-track album spanning nearly fifty minutes, it is a struggle to find standout moments in a sea of nearly identical song structures, played-out riffs, and tedious vocals.
Where God’s Funeral bucks trends is in the most unfortunate places. Genre stalwarts like Ahab, DOOM:VS, and Shape of Despair feature similarly deliberate song structures, but break these up with vocal variety, melodic sections, left turns into death metal, and more. God’s Funeral eschews all of that, and the only notable moments of reprieve from the grinding, one-note style on El Despertar Dels Morts are the wonderfully rich-sounding string work that are a staple across the album, an epic organ section at the end of “Ara Que Torna El Silenci,” and the militaristic marching drum intro to “La Processó De Les Ombres.” It is telling that you have to reach for points of interest on this LP; they act like life rafts in a never-ending storm of monotony.
The back half of El Despertar Dels Morts is the strongest part of the album, if only for the fact that the songs stay under ten minutes. These last three tracks at least offer a glimpse at what God’s Funeral could be capable of with a lot more editing. “Fossa Comuna” is the standout track that exemplifies the best of what the band can do. An atmospheric bass intro leads to an actual beat that surpasses the downright sleep-inducing tempo of previous tracks, and the drumming sounds alive for once, finally helping a track rise above the sub-50 bpm droning that drags across the entire LP. While having an album that sounds similar throughout isn’t necessarily a negative, especially when that one song is a ripper, God’s Funeral missed the memo. Telling apart individual tracks on El Despertar Dels Morts is downright challenging. It pains me to be so negative about a band that is invested in their craft and obvious worshippers at the doom altar. God’s Funeral is so close on many levels, but it leans into genre tropes so intensely that they become repellent.
El Despertar Dels Morts is, finally, a monotonous listen that feels more like prepping for bed as opposed to reveling in the big sleep. Funeral doom is slow, it is atmospheric, it is crushing, and God’s Funeral does an admirable job attempting to turn these elements into a cohesive album. But the band draws from the same well too often, leaving El Despertar Dels Morts stylistically empty. In a genre that is already difficult to break into as a band and a listener, God’s Funeral has all the makings of a great addition to the pantheon, but it fails in the most fundamental elements. The band can play well, and the album sounds great from a production standpoint, but the most important part, the songwriting, sags at every turn. Fans of funeral doom may find some choice moments or good background listening with El Despertar Dels Morts, but unless you love the genre, this album won’t change any hearts.
Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: godsfuneral.bandcamp.com | instagram.com/godsfuneral.band
Releases Worldwide: August 15th, 2025#2025 #Ahab #Aug25 #DoomMetal #DoomVS #ElDespertarDelsMorts #FuneralDoom #GodSFuneral #MeuseMusicRecords #Review #Reviews #ShapeOfDespair #SpanishMetal
-
God’s Funeral – El Despertar Dels Morts Review
By Angry Metal Guy
Written By: Nameless_n00b_605
Metal is full of niche genres, and within that sphere, doom metal is full of unique variations. Funeral doom, doom metal’s basement-dwelling offspring, is as impenetrable a metal genre as some of the nastiest bands in the business. Trudging, droning song structures, distorted, bellowing vocals, and (as the genre tag suggests) the vibe of being at a funeral can make for a taxing listen on a good day. Nailing all these individual elements isn’t so much a challenge as a rite of passage, but truly meshing these staples together is a skill few bands possess. God’s Funeral joins the cacophonic dirge on their first LP, El Despertar Dels Morts. Hailing from Tarragona, Spain, can their brand of Catholic-guilt-infused funeral doom make a splash in the cesspool of sadness, or is it merely a teardrop in the bucket of filth?
El Despertar Dels Morts has all the hallmarks of great funeral doom; roomy production offers space for naturalistic string arrangements and atmospheric organ playing. Lead singer Abel nails the classic funeral doom tone, with vocals that sound like they are recorded in the roomy basement of a moldy castle. The riffing from guitarists Naila and Juan is suitably churning and ominous, and Sergi’s drumming fills the deliberate void with hard-hitting playing. The kicker is that God’s Funeral nails production and musicianship, but misses the mark on nearly every level otherwise. From songwriting to editing, and from pacing to variety, El Despertar Dels Morts fumbles at every turn. In a five-track album spanning nearly fifty minutes, it is a struggle to find standout moments in a sea of nearly identical song structures, played-out riffs, and tedious vocals.
Where God’s Funeral bucks trends is in the most unfortunate places. Genre stalwarts like Ahab, DOOM:VS, and Shape of Despair feature similarly deliberate song structures, but break these up with vocal variety, melodic sections, left turns into death metal, and more. God’s Funeral eschews all of that, and the only notable moments of reprieve from the grinding, one-note style on El Despertar Dels Morts are the wonderfully rich-sounding string work that are a staple across the album, an epic organ section at the end of “Ara Que Torna El Silenci,” and the militaristic marching drum intro to “La Processó De Les Ombres.” It is telling that you have to reach for points of interest on this LP; they act like life rafts in a never-ending storm of monotony.
The back half of El Despertar Dels Morts is the strongest part of the album, if only for the fact that the songs stay under ten minutes. These last three tracks at least offer a glimpse at what God’s Funeral could be capable of with a lot more editing. “Fossa Comuna” is the standout track that exemplifies the best of what the band can do. An atmospheric bass intro leads to an actual beat that surpasses the downright sleep-inducing tempo of previous tracks, and the drumming sounds alive for once, finally helping a track rise above the sub-50 bpm droning that drags across the entire LP. While having an album that sounds similar throughout isn’t necessarily a negative, especially when that one song is a ripper, God’s Funeral missed the memo. Telling apart individual tracks on El Despertar Dels Morts is downright challenging. It pains me to be so negative about a band that is invested in their craft and obvious worshippers at the doom altar. God’s Funeral is so close on many levels, but it leans into genre tropes so intensely that they become repellent.
El Despertar Dels Morts is, finally, a monotonous listen that feels more like prepping for bed as opposed to reveling in the big sleep. Funeral doom is slow, it is atmospheric, it is crushing, and God’s Funeral does an admirable job attempting to turn these elements into a cohesive album. But the band draws from the same well too often, leaving El Despertar Dels Morts stylistically empty. In a genre that is already difficult to break into as a band and a listener, God’s Funeral has all the makings of a great addition to the pantheon, but it fails in the most fundamental elements. The band can play well, and the album sounds great from a production standpoint, but the most important part, the songwriting, sags at every turn. Fans of funeral doom may find some choice moments or good background listening with El Despertar Dels Morts, but unless you love the genre, this album won’t change any hearts.
Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: godsfuneral.bandcamp.com | instagram.com/godsfuneral.band
Releases Worldwide: August 15th, 2025#2025 #Ahab #Aug25 #DoomMetal #DoomVS #ElDespertarDelsMorts #FuneralDoom #GodSFuneral #MeuseMusicRecords #Review #Reviews #ShapeOfDespair #SpanishMetal
-
God’s Funeral – El Despertar Dels Morts Review
By Angry Metal Guy
Written By: Nameless_n00b_605
Metal is full of niche genres, and within that sphere, doom metal is full of unique variations. Funeral doom, doom metal’s basement-dwelling offspring, is as impenetrable a metal genre as some of the nastiest bands in the business. Trudging, droning song structures, distorted, bellowing vocals, and (as the genre tag suggests) the vibe of being at a funeral can make for a taxing listen on a good day. Nailing all these individual elements isn’t so much a challenge as a rite of passage, but truly meshing these staples together is a skill few bands possess. God’s Funeral joins the cacophonic dirge on their first LP, El Despertar Dels Morts. Hailing from Tarragona, Spain, can their brand of Catholic-guilt-infused funeral doom make a splash in the cesspool of sadness, or is it merely a teardrop in the bucket of filth?
El Despertar Dels Morts has all the hallmarks of great funeral doom; roomy production offers space for naturalistic string arrangements and atmospheric organ playing. Lead singer Abel nails the classic funeral doom tone, with vocals that sound like they are recorded in the roomy basement of a moldy castle. The riffing from guitarists Naila and Juan is suitably churning and ominous, and Sergi’s drumming fills the deliberate void with hard-hitting playing. The kicker is that God’s Funeral nails production and musicianship, but misses the mark on nearly every level otherwise. From songwriting to editing, and from pacing to variety, El Despertar Dels Morts fumbles at every turn. In a five-track album spanning nearly fifty minutes, it is a struggle to find standout moments in a sea of nearly identical song structures, played-out riffs, and tedious vocals.
Where God’s Funeral bucks trends is in the most unfortunate places. Genre stalwarts like Ahab, DOOM:VS, and Shape of Despair feature similarly deliberate song structures, but break these up with vocal variety, melodic sections, left turns into death metal, and more. God’s Funeral eschews all of that, and the only notable moments of reprieve from the grinding, one-note style on El Despertar Dels Morts are the wonderfully rich-sounding string work that are a staple across the album, an epic organ section at the end of “Ara Que Torna El Silenci,” and the militaristic marching drum intro to “La Processó De Les Ombres.” It is telling that you have to reach for points of interest on this LP; they act like life rafts in a never-ending storm of monotony.
The back half of El Despertar Dels Morts is the strongest part of the album, if only for the fact that the songs stay under ten minutes. These last three tracks at least offer a glimpse at what God’s Funeral could be capable of with a lot more editing. “Fossa Comuna” is the standout track that exemplifies the best of what the band can do. An atmospheric bass intro leads to an actual beat that surpasses the downright sleep-inducing tempo of previous tracks, and the drumming sounds alive for once, finally helping a track rise above the sub-50 bpm droning that drags across the entire LP. While having an album that sounds similar throughout isn’t necessarily a negative, especially when that one song is a ripper, God’s Funeral missed the memo. Telling apart individual tracks on El Despertar Dels Morts is downright challenging. It pains me to be so negative about a band that is invested in their craft and obvious worshippers at the doom altar. God’s Funeral is so close on many levels, but it leans into genre tropes so intensely that they become repellent.
El Despertar Dels Morts is, finally, a monotonous listen that feels more like prepping for bed as opposed to reveling in the big sleep. Funeral doom is slow, it is atmospheric, it is crushing, and God’s Funeral does an admirable job attempting to turn these elements into a cohesive album. But the band draws from the same well too often, leaving El Despertar Dels Morts stylistically empty. In a genre that is already difficult to break into as a band and a listener, God’s Funeral has all the makings of a great addition to the pantheon, but it fails in the most fundamental elements. The band can play well, and the album sounds great from a production standpoint, but the most important part, the songwriting, sags at every turn. Fans of funeral doom may find some choice moments or good background listening with El Despertar Dels Morts, but unless you love the genre, this album won’t change any hearts.
Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: godsfuneral.bandcamp.com | instagram.com/godsfuneral.band
Releases Worldwide: August 15th, 2025#2025 #Ahab #Aug25 #DoomMetal #DoomVS #ElDespertarDelsMorts #FuneralDoom #GodSFuneral #MeuseMusicRecords #Review #Reviews #ShapeOfDespair #SpanishMetal
-
Sfântul Prooroc Miheia, care a proorocit lui Ahab, împăratul lui Israel A proorocului Tău Miheia pomenire, Doamne, prăznuind, printr-însul Te rugăm, mântuieşte sufletele noastre. 👉 https://c.aparatorul.md/1cn3n 👈 #Ahab #DomnulDumnezeul #Israel #Samaria #SfântulMiheia #SfântulProorocMiheia
https://c.aparatorul.md/1cn3n
