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Galvanist – The Silence Between Stars Review

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel…
#NewsBeep #News #Music #2026 #4.5 #AnimalsasLeaders #BellWitch #BlackMetal #CA #Canada #DoomMetal #Entertainment #Galvanist #Huntsmen #Insomnium #May26 #ProgressiveDeath #Ragana #review #reviews #TheSilenceBetweenStars #Thou #Ulcerate
https://www.newsbeep.com/ca/696323/

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

I was initially surprised that Galvanist hailed from Bozeman, Montana, but I really have no right to feel that way. Based on its proximity to major outdoor destinations, I thought Bozeman would be like Jackson, Wyoming, where I briefly lived, but Google quickly disabused me of that notion. Suffice it to say, I have no idea what Bozeman’s music scene is like. But I’ll tell you what I do know. I know that Galvanist released debut Connection in 2022 and split Hollowtop with Ulm in 2024. I know they’re returning now with sophomore effort The Silence Between Stars. And after spinning this album every day for weeks, I know that all my expectations, like so much dust beneath the heel of an eldritch god, have been casually and utterly annihilated.

The promo material describes Galvanist as “blackened doom metal, progressive death metal, and experimental textures.” That may outline the canvas upon which Galvanist paints, but it does them little justice. Throughout The Silence Between Stars, I hear Animals as Leaders drowning in sludge (“Atrophy”) and Huntsmen channeling Thou (“Dreich,”1 “Spiorad”2). Woven into the fiber of their sound, I hear the swirling chaos of Ulcerate (“Hauntology”), creating a shifting maelstrom that denies me any safe or solid ground. Synths and keys, courtesy of lead guitarist Micah Tippit, lend Galvanist a threatening, extraterrestrial edge. Over it all, vocalist Tanner Erhart bellows with the raw intensity of acts like Ragana. Galvanist takes these ingredients and filters them through a clear and singular identity to create something entirely their own. Orders of magnitude greater than its descriptors, The Silence Between Stars is a journey by turns and at once deeply rooted in the homestead and violently flung to the darkest reaches of space.3

With every track but the 63-second intro4 clocking in at roughly 8–11 minutes, I worried The Silence Between Stars would suffer from bloat or overly aggressive proggery. My fears were unfounded. The Silence Between Stars demands my attention front to back, and at an easily digestible 40 minutes, I frequently find myself looping back for another spin. This isn’t so singular a work as Winter’s Gate or Mirror Reaper—there’s little need for gapless playback here—but each track flows so naturally into the next that I struggle to start anywhere but the beginning or stop anywhere but the end. I don’t know if this is a concept album, but it’s heady, interconnected subject matter5 demands more than just lyrical exposition. Galvanist is plenty capable, wielding mystifying time signature shifts (“Atrophy,” “Hauntology”), abrupt—but never jarring—compositional transitions, and mid-melody key changes (“Spiorad”) with aplomb. Galvanist adeptly handles such progressive elements to bake their storytelling directly into the music itself.

Even beyond its total disregard for my expectations, The Silence Between Stars continues to awe. Galvanist uses the soundstage to further cultivate that sense of being both grounded and in freefall. Bassist Kevin George’s mix leaves room for each instrument to breathe, but in a good way, only just. With a little added reverb, the result fosters that contradictory atmosphere even more, like suffocating in open air. Erhart’s rhythm guitars hang out on the wings, where microtonal variances between left and right ears create an incredible dissonance, a feeling of infinite liminality. Elements float in and out of the spotlight—like George’s bass at the midpoint of “Atrophy,” Chris Navarro’s drums at the end of “Hauntology,” or Tippit’s astounding leads on the back half of “Spiorad”—constantly redirecting my attention and driving me further into Galvanist’s labyrinth.

It is not often I have no complaints about an album, and rarer still, I have more praise than I can fit on the page. Had I time and space enough, I would still be raving about The Silence Between Stars long after the final keys of “Spiorad” fade to silence. From the cosmic violence of “Atrophy” to the striking bookends of “Dreich,” and from the spine-tingling keys of “Hauntology” to the magnificent, delirious climax of “Spiorad,” Galvanist has created something truly special. Like a will-o’-wisp or a foxfire trail coaxing you into the dark, The Silence Between Stars is disquieting yet tempting, unnerving yet comforting. I didn’t know what I was in for when I picked up Galvanist, but to shamelessly adapt my favorite line from the album,6 I crossed the threshold, and I found myself amidst worlds strange and wonderful.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Aeternitas Tenebrarum Musicae Fundamentum
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 27th, 2026

This morning's #workout #music from Stygian Bough is perfect from throwing around some #HeavyMetal bells. Truly gorgeous emotive work from the #PNW #Seattle #Portland

https://youtu.be/OtO2Cv_6eT8
#Doom #DoomMetal #Noiseros #PostMetal #KettleBells #BellWitch #AerialRuin

https://bellwitch.bandcamp.com/album/stygian-bough-volume-ii

This morning's #workout #music from Stygian Bough is perfect from throwing around some #HeavyMetal bells. Truly gorgeous emotive work from the #PNW #Seattle #Portland

https://youtu.be/OtO2Cv_6eT8
#Doom #DoomMetal #Noiseros #PostMetal #KettleBells #BellWitch #AerialRuin

https://bellwitch.bandcamp.com/album/stygian-bough-volume-ii

This morning's #workout #music from Stygian Bough is perfect from throwing around some #HeavyMetal bells. Truly gorgeous emotive work from the #PNW #Seattle #Portland

https://youtu.be/OtO2Cv_6eT8
#Doom #DoomMetal #Noiseros #PostMetal #KettleBells #BellWitch #AerialRuin

https://bellwitch.bandcamp.com/album/stygian-bough-volume-ii

This morning's #workout #music from Stygian Bough is perfect from throwing around some #HeavyMetal bells. Truly gorgeous emotive work from the #PNW #Seattle #Portland

https://youtu.be/OtO2Cv_6eT8
#Doom #DoomMetal #Noiseros #PostMetal #KettleBells #BellWitch #AerialRuin

https://bellwitch.bandcamp.com/album/stygian-bough-volume-ii

This morning's #workout #music from Stygian Bough is perfect from throwing around some #HeavyMetal bells. Truly gorgeous emotive work from the #PNW #Seattle #Portland

https://youtu.be/OtO2Cv_6eT8
#Doom #DoomMetal #Noiseros #PostMetal #KettleBells #BellWitch #AerialRuin

https://bellwitch.bandcamp.com/album/stygian-bough-volume-ii

KEXP bringing it again with Bell Witch performing Stygian Bough. Confusingly, they list the band as Stygian Bough.

#BellWitch #FuneralDoom

https://www.youtube.com/watch?v=OtO2Cv_6eT8

KEXP bringing it again with Bell Witch performing Stygian Bough. Confusingly, they list the band as Stygian Bough.

#BellWitch #FuneralDoom

https://www.youtube.com/watch?v=OtO2Cv_6eT8

KEXP bringing it again with Bell Witch performing Stygian Bough. Confusingly, they list the band as Stygian Bough.

#BellWitch #FuneralDoom

https://www.youtube.com/watch?v=OtO2Cv_6eT8

KEXP bringing it again with Bell Witch performing Stygian Bough. Confusingly, they list the band as Stygian Bough.

#BellWitch #FuneralDoom

https://www.youtube.com/watch?v=OtO2Cv_6eT8

KEXP bringing it again with Bell Witch performing Stygian Bough. Confusingly, they list the band as Stygian Bough.

#BellWitch #FuneralDoom

https://www.youtube.com/watch?v=OtO2Cv_6eT8

Dwellnought – Monolith of Ephemerality Review

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of…
#NewsBeep #News #Music #2.0 #2026 #BellWitch #blackeneddoommetal #BlutAusNord #CaligariRecords #Cough #Dwellnought #Entertainment #Feb26 #ItalianMetal #MonolithofEphemerality #Ossuary #review #Reviews #SufferingHour #Teitanblood #UK #UnitedKingdom
https://www.newsbeep.com/uk/493429/

https://www.europesays.com/uk/848014/ Dwellnought – Monolith of Ephemerality Review #20 #2026 #BellWitch #BlackenedDoomMetal #BlutAusNord #CaligariRecords #Cough #Dwellnought #Entertainment #Feb26 #ItalianMetal #MonolithOfEphemerality #music #Ossuary #Review #Reviews #SufferingHour #Teitanblood #UK #UnitedKingdom

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

In my hitherto short stint of indefinite indentured servitude in the hall, I’ve frequently noted the importance of albums with narrative. In my younger days, I was a simp for albums with as many tracks as I could find. Deluxe editions? Yes please. Reissues, demos, covers, unreleased bonus cuts? Heck yeah, inject that right into my veins. It’s only as the responsibilities of adulthood overtook casual listening time that I began to appreciate albums with brevity, direction, and a distinct sense of a complete, full-bodied work. Well, everybody buckle in, because somewhere in the ether a big middle finger on a monkey’s paw has curled in my direction, by way of Italy’s Dwellnought, presenting their debut album Monolith of Ephemerality. Oh, we will go on a journey together, alright, but will there be anything left worth recounting of this Monolith on our return?

Despite an album title seemingly indebted to the more thesaurus-riddled branches of slam, Dwellnought actually traffic in a brand of feedback-drenched blackened doom. Atmospheric theatrics are the name of the game, with an album that seeks to deprive the listener of anything approaching light, optimism, or major keys. Rumbling feedback collapses into slow bpm plods with sustained trem-chords filling in the negative spaces in time for single cymbal/bass drum hits before eventually metamorphosing into an earthquake shattering riff while vocalist S bellows and wails from just beyond the mix. The doom takes the biggest prevalence as Monolith of Ephemerality rarely exceeds a brisk trot in pace, with any spurts of speed eventually devolving back into exhausted continuations.

Monolith of Ephemerality by DWELLNOUGHT

Such commitment to crippling atmosphere is admirable, but it comes at the expense of almost everything else. Dwellnought have attempted an unusual formula, channeling the claustrophobia of Teitanblood in production but channeled through an almost Bell Witch chord pacing with occasional flourishes of Ossuary crust-heaving. The formula finds its peak at the beginning, with long-form intro “Slumbering Through the Dream of Impermanence” flowing seamlessly into massive 17-minute barnburner “The Final Desire is Unbeing.” Here is the Dwellnought recipe at its most refined. The otherwise needlessly lengthy intro is atmospheric and mood-setting, with the oscillation of tempo and tone in its follow-up masterfully executed. Within this lengthy run comes segments heavily indebted to drum-machine era Blut Aus Nord gelling into a barbaric Cough waltz with effortlessness. This 20-minute kickoff shows real promise, evoking the abyss with texture as much as color, or lack thereof.

If only the rest of the album followed suit. The quality dip in the back three-fifths represents not a slope as much as a sudden drop-off where memorable songwriting is sacrificed utterly at the altar of mood. The dedication to the mood is palpable, as not one note approaches anything optimistic or upbeat, but in their avoidance of such things, Dwellnought also sidestep memorability or impact. “Crystalized Flesh Identities Condensed into Wombs of Matter” can’t make up its mind whether it wants to be fast or slow and has tempo changes marked more by indecision than deliberate arrangement. Both this and “Ill Whispers” frequently rely on chords ringing out via prolonged strum with minimalized drumbeats, but the notes are mixed so homogenously I struggle to tell if there are actual riffs or if Dwellnought are riding atonality into oblivion. The opening to both tracks borders on self-plagiarism in their similarity, and no single moment of menace comes close to matching the peak of the preceding songs. Additionally, Monolith of Ephemerality ends on a 6-minute assault of nothing but static and a grumbly voice speaking out of the void, which is wild since that’s exactly how “Crystalized Flesh…” ends as well. An attempt at a narrative is clear, and yet this climax is far from earned, given the drought of memorable set pieces to justify such a noise-rooted outro.

And yet, I keep coming back to those first twenty minutes. It takes balls the size of a bird of a plane of ClarkKent1 to open up your already longform album with your highest quality riffs. Had these two songs made up all of Monolith of Ephemerality as a single-track ep (not dissimilar to Suffering Hour’s Dwell, for example), this would make an excellent addition to the end-of-the-year EP roundups. There’s a genuine seed of promise in how Dwellnought have put their best foot forward, but the collapse in quality as the album continues cannot be denied. The mix is massive, the tone dark, the atmosphere oppressive, and the influences are a recipe for a good time. But somewhere along the way, Dwellnought stared so hard into the abyss that eventually even the abyss stopped staring back. All atmosphere and very little riffage, this album is an excellent reminder to be careful what we wish for.

Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Caligari Records
Website: Album Bandcamp
Releases Worldwide: February 20th, 2026

This is super good, first contestant for 2026 AOTYs! That cassette looks pretty nice too...

#AllianceRoseCroix #BellWitch #Nonconnah #drone #doom #ambient #postmetal

This is super good, first contestant for 2026 AOTYs! That cassette looks pretty nice too...

#AllianceRoseCroix #BellWitch #Nonconnah #drone #doom #ambient #postmetal

This is super good, first contestant for 2026 AOTYs! That cassette looks pretty nice too...

#AllianceRoseCroix #BellWitch #Nonconnah #drone #doom #ambient #postmetal

This is super good, first contestant for 2026 AOTYs! That cassette looks pretty nice too...

#AllianceRoseCroix #BellWitch #Nonconnah #drone #doom #ambient #postmetal

This is super good, first contestant for 2026 AOTYs! That cassette looks pretty nice too...

#AllianceRoseCroix #BellWitch #Nonconnah #drone #doom #ambient #postmetal

From Danish metal to bargain-bin slashers, the Bell Witch legend keeps getting adapted by people who seem profoundly uninterested in what made it weird in the first place.
#BellWitch #Folklore #Horror #Movies #Metal #MercyfulFate #KingDiamond #TheBellKeeper #Legend #FolkHorror #MetalCriticism #HorrorCriticism #MovieReview #SlasherFilms #AmericanFolklore #Adaptation
https://pablohoneyfish.wordpress.com/2026/01/26/the-folklore-of-the-bell-witch-a-comparative-analysis-of-nineteenth-century-narrative-and-modern-media-commodification/

@HailsandAles Hm. #Soen with Lykaia, #PainOfSalvation with In The Passing Light Of Day issued great proggy records. #TheBlackDahliaMurder, #Mastodon, #Wintersun and #BellWitch had very enjoyable albums … but I would go with #UnleashTheArchers and Apex. Awesome piece of music on a level they’ve never reached again.

@HailsandAles Hm. #Soen with Lykaia, #PainOfSalvation with In The Passing Light Of Day issued great proggy records. #TheBlackDahliaMurder, #Mastodon, #Wintersun and #BellWitch had very enjoyable albums … but I would go with #UnleashTheArchers and Apex. Awesome piece of music on a level they’ve never reached again.

@HailsandAles Hm. #Soen with Lykaia, #PainOfSalvation with In The Passing Light Of Day issued great proggy records. #TheBlackDahliaMurder, #Mastodon, #Wintersun and #BellWitch had very enjoyable albums … but I would go with #UnleashTheArchers and Apex. Awesome piece of music on a level they’ve never reached again.

@HailsandAles Hm. #Soen with Lykaia, #PainOfSalvation with In The Passing Light Of Day issued great proggy records. #TheBlackDahliaMurder, #Mastodon, #Wintersun and #BellWitch had very enjoyable albums … but I would go with #UnleashTheArchers and Apex. Awesome piece of music on a level they’ve never reached again.

@HailsandAles Hm. #Soen with Lykaia, #PainOfSalvation with In The Passing Light Of Day issued great proggy records. #TheBlackDahliaMurder, #Mastodon, #Wintersun and #BellWitch had very enjoyable albums … but I would go with #UnleashTheArchers and Apex. Awesome piece of music on a level they’ve never reached again.

Just finished a six-album Bell Witch marathon listen. Not in one sitting of course. I now feel fully immersed in the BW vibe. Stygian Bough I and II together was truly epic. For real, it was long.

Next, a nine-album listen of my Sunn O))) collection.

Kicking this streaming thing is really making me enjoy my physical media.

#vinyl #BellWitch #sunno

Just finished a six-album Bell Witch marathon listen. Not in one sitting of course. I now feel fully immersed in the BW vibe. Stygian Bough I and II together was truly epic. For real, it was long.

Next, a nine-album listen of my Sunn O))) collection.

Kicking this streaming thing is really making me enjoy my physical media.

#vinyl #BellWitch #sunno

Just finished a six-album Bell Witch marathon listen. Not in one sitting of course. I now feel fully immersed in the BW vibe. Stygian Bough I and II together was truly epic. For real, it was long.

Next, a nine-album listen of my Sunn O))) collection.

Kicking this streaming thing is really making me enjoy my physical media.

#vinyl #BellWitch #sunno

Just finished a six-album Bell Witch marathon listen. Not in one sitting of course. I now feel fully immersed in the BW vibe. Stygian Bough I and II together was truly epic. For real, it was long.

Next, a nine-album listen of my Sunn O))) collection.

Kicking this streaming thing is really making me enjoy my physical media.

#vinyl #BellWitch #sunno

Just finished a six-album Bell Witch marathon listen. Not in one sitting of course. I now feel fully immersed in the BW vibe. Stygian Bough I and II together was truly epic. For real, it was long.

Next, a nine-album listen of my Sunn O))) collection.

Kicking this streaming thing is really making me enjoy my physical media.

#vinyl #BellWitch #sunno

Metal By Numbers: Flowers in November Charts – 11/14/2025:

#MetalByNumbers #NovemberCharts #TheDevilWearsPrada #BellWitch #AerialRuin

Link: https://metalinsider.net/columns/metal-by-numbers/metal-by-numbers-flowers-in-november-charts-11-14-2025

Metal By Numbers: Flowers in November Charts – 11/14/2025:

#MetalByNumbers #NovemberCharts #TheDevilWearsPrada #BellWitch #AerialRuin

Link: https://metalinsider.net/columns/metal-by-numbers/metal-by-numbers-flowers-in-november-charts-11-14-2025

https://www.europesays.com/nl/95007/ Bell Witch & Aerial Ruin – Stygian Bough Volume II #AerialRuin #album #Amusement #BellWitch #doom #DoomMetal #Dutch #Entertainment #FuneralDoom #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #ProfoundLoreRecords #recensie #review #StygianBough #StygianBoughVolumeIi #VolumeIi #ZwareMetalen

Doubtsower – The Past Melts Away with a Sneer Review

It’s amazing how quickly November, and my month of doom, has flown by. It seems the …
#NewsBeep #News #Music #2025 #3.0 #avant-garde #BellWitch #DoomMetal #Doubtsower #Entertainment #Esoteric #ExperimentalMetal #FuneralDoom #IndustrialMetal #JohnCage #MyDyingBride #Nov25 #oak #review #Reviews #SelfReleased #SludgeMetal #ThePastMeltsAwaywithaSneer #UK #UnitedKingdom #Weezer #WelshMetal #WhentheDeadboltBreaks
https://www.newsbeep.com/uk/290059/

https://www.europesays.com/ie/206840/ Doubtsower – The Past Melts Away with a Sneer Review #2025 #3.0 #AvantGarde #BellWitch #DoomMetal #Doubtsower #Éire #Entertainment #Esoteric #ExperimentalMetal #FuneralDoom #IE #IndustrialMetal #Ireland #JohnCage #Music #MyDyingBride #Nov25 #oak #Review #Reviews #SelfReleased #SludgeMetal #ThePastMeltsAwayWithASneer #Weezer #WelshMetal #WhenTheDeadboltBreaks

https://www.europesays.com/uk/601670/ Doubtsower – The Past Melts Away with a Sneer Review #2025 #3.0 #AvantGarde #BellWitch #DoomMetal #Doubtsower #Entertainment #Esoteric #ExperimentalMetal #FuneralDoom #IndustrialMetal #JohnCage #music #MyDyingBride #Nov25 #Oak #Review #Reviews #SelfReleased #SludgeMetal #ThePastMeltsAwayWithASneer #UK #UnitedKingdom #Weezer #WelshMetal #WhenTheDeadboltBreaks

Doubtsower – The Past Melts Away with a Sneer Review

By ClarkKent

It’s amazing how quickly November, and my month of doom, has flown by. It seems the constant exposure to slow-paced music has made the days move faster, not slower. For my final November doom promo, what could be more appropriate than one described as “one long song funeral doom?” While the Welsh doom band containing this descriptor, Doubtsower, is new to me, the man behind the project, Matt Strangis, has three previous releases dating back to 2021. Although most of these earlier albums cross the one-hour mark, none of the songs run longer than fifteen minutes 1, so this is new territory for Doubtsower. Strangis describes his own songwriting process as “punk DIY,” and he does much of his recording at home, with some mastering help from Greg Chandler of Esoteric. For insomniacs, one long funeral doom song sounds like the perfect cure, but be careful, this doesn’t backfire and instead keeps you hooked and wide awake.

While the premise of a 48-minute funeral doom song brings to mind other ambitious projects from Bell Witch and Oak, Doubtsower’s The Past Melts Away with a Sneer turns out to be one weird beast. Doubtsower isn’t exactly a funeral doom band, but an experimental doom band. Strangis keeps his one song’s tempo slow—funeral doom slow—yet it has much more in common with the avant-garde music of John Cage than My Dying Bride or Esoteric. It makes use of syncopated riffs that cut short and disorient listeners, as well as some unusual noises, such as static scratches and the clicking and rattling of ratchets. “The Past Melts Away with a Sneer” also makes use of silences, though they’re not as lengthy as “4’33,” largely as a transitional tool. This use of odd sounds, silent moments, and suspenseful repetitions of short riffs creates an unsettling mood early on, and with the mix of sludge, I couldn’t help but think of experimental sludge/horror/doom outfit When the Deadbolt Breaks.

Over the course of its 48 minutes, The Past Melts Away with a Sneer is an ever-shifting amalgamation of styles, an amorphic blob that somehow holds everything together as a cohesive whole. Sounds often shift minute-by-minute despite the glacial pacing. While the early goings have the John Cage thing going, at the 8-minute mark, the track breaks out into the one segment that sounds like traditional funeral doom, with plodding drum beats, crushing guitars, and a low, harsh growl. Yet just as you think this is the direction it’s going, the song goes silent and then shifts into a new form. The extensive use of silence and light droning makes the sudden bursts of energy peppered throughout all the more striking. About 20 minutes in, “The Past Melts Away with a Sneer” morphs into industrial dance, snapping you awake and commanding your body to move. The song morphs yet again, this time into something hopeful and poppy, with light, Weezer-like strums. However, even this segment doesn’t last long, and somehow Strangis is able to convince us that these disparate sounds all form one coherent tune.

It’s pretty impressive how “The Past Melts Away with a Sneer” is able to remain engaging for its entire run, but some moments of repetition do derail portions of the track. This is most egregious at 29 minutes as Doubtsower transitions into a lengthy portion of sludge/doom. Throughout this approximately eight-minute segment, there’s a consistent, repetitive riff that grows tiresome over time. Still, the song rights itself for the finale with the return of a catchy piano/synth melody from the beginning. As this melody begins to fade into silence and lulls you into a sense of closure, the track gains a second wind and hurls forth an energetic set of industrial riffs and blast beats. There’s an unpredictability that catches you off guard and keeps the record fresh.

If the album I described above sounds like a nightmare, that’s the whole point. It’s meant to be a “disorienting descent into a nihilistic free-for-all,” and Strangis succeeds in making that vision come to fruition. It may not always be easy listening, but it’s rarely boring. Having spent some time with the prior Doubtsower records, this one stands out as Strangis’s most engaging and best-written. The Past Melts Away with a Sneer has caused me to question my usually negative relationship with experimental metal. It has left me feeling disoriented, but in a good way, and it’s an experience that I recommend for the curious and lovers of the weird.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Self-Release
Website: Bandcamp
Releases Worldwide: November 28th, 2025

#2025 #30 #avanteGarde #bellWitch #doomMetal #doubtsower #esoteric #experimentalMetal #funeralDoom #industrialMetal #johnCage #myDyingBride #nov25 #oak #review #reviews #selfReleased #sludgeMetal #thePastMeltsAwayWithASneer #weezer #welshMetal #whenTheDeadboltBreaks

Doubtsower – The Past Melts Away with a Sneer Review

By ClarkKent

It’s amazing how quickly November, and my month of doom, has flown by. It seems the constant exposure to slow-paced music has made the days move faster, not slower. For my final November doom promo, what could be more appropriate than one described as “one long song funeral doom?” While the Welsh doom band containing this descriptor, Doubtsower, is new to me, the man behind the project, Matt Strangis, has three previous releases dating back to 2021. Although most of these earlier albums cross the one-hour mark, none of the songs run longer than fifteen minutes 1, so this is new territory for Doubtsower. Strangis describes his own songwriting process as “punk DIY,” and he does much of his recording at home, with some mastering help from Greg Chandler of Esoteric. For insomniacs, one long funeral doom song sounds like the perfect cure, but be careful, this doesn’t backfire and instead keeps you hooked and wide awake.

While the premise of a 48-minute funeral doom song brings to mind other ambitious projects from Bell Witch and Oak, Doubtsower’s The Past Melts Away with a Sneer turns out to be one weird beast. Doubtsower isn’t exactly a funeral doom band, but an experimental doom band. Strangis keeps his one song’s tempo slow—funeral doom slow—yet it has much more in common with the avant-garde music of John Cage than My Dying Bride or Esoteric. It makes use of syncopated riffs that cut short and disorient listeners, as well as some unusual noises, such as static scratches and the clicking and rattling of ratchets. “The Past Melts Away with a Sneer” also makes use of silences, though they’re not as lengthy as “4’33,” largely as a transitional tool. This use of odd sounds, silent moments, and suspenseful repetitions of short riffs creates an unsettling mood early on, and with the mix of sludge, I couldn’t help but think of experimental sludge/horror/doom outfit When the Deadbolt Breaks.

Over the course of its 48 minutes, The Past Melts Away with a Sneer is an ever-shifting amalgamation of styles, an amorphic blob that somehow holds everything together as a cohesive whole. Sounds often shift minute-by-minute despite the glacial pacing. While the early goings have the John Cage thing going, at the 8-minute mark, the track breaks out into the one segment that sounds like traditional funeral doom, with plodding drum beats, crushing guitars, and a low, harsh growl. Yet just as you think this is the direction it’s going, the song goes silent and then shifts into a new form. The extensive use of silence and light droning makes the sudden bursts of energy peppered throughout all the more striking. About 20 minutes in, “The Past Melts Away with a Sneer” morphs into industrial dance, snapping you awake and commanding your body to move. The song morphs yet again, this time into something hopeful and poppy, with light, Weezer-like strums. However, even this segment doesn’t last long, and somehow Strangis is able to convince us that these disparate sounds all form one coherent tune.

It’s pretty impressive how “The Past Melts Away with a Sneer” is able to remain engaging for its entire run, but some moments of repetition do derail portions of the track. This is most egregious at 29 minutes as Doubtsower transitions into a lengthy portion of sludge/doom. Throughout this approximately eight-minute segment, there’s a consistent, repetitive riff that grows tiresome over time. Still, the song rights itself for the finale with the return of a catchy piano/synth melody from the beginning. As this melody begins to fade into silence and lulls you into a sense of closure, the track gains a second wind and hurls forth an energetic set of industrial riffs and blast beats. There’s an unpredictability that catches you off guard and keeps the record fresh.

If the album I described above sounds like a nightmare, that’s the whole point. It’s meant to be a “disorienting descent into a nihilistic free-for-all,” and Strangis succeeds in making that vision come to fruition. It may not always be easy listening, but it’s rarely boring. Having spent some time with the prior Doubtsower records, this one stands out as Strangis’s most engaging and best-written. The Past Melts Away with a Sneer has caused me to question my usually negative relationship with experimental metal. It has left me feeling disoriented, but in a good way, and it’s an experience that I recommend for the curious and lovers of the weird.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Self-Release
Website: Bandcamp
Releases Worldwide: November 28th, 2025

#2025 #30 #avanteGarde #bellWitch #doomMetal #doubtsower #esoteric #experimentalMetal #funeralDoom #industrialMetal #johnCage #myDyingBride #nov25 #oak #review #reviews #selfReleased #sludgeMetal #thePastMeltsAwayWithASneer #weezer #welshMetal #whenTheDeadboltBreaks

Doubtsower – The Past Melts Away with a Sneer Review

By ClarkKent

It’s amazing how quickly November, and my month of doom, has flown by. It seems the constant exposure to slow-paced music has made the days move faster, not slower. For my final November doom promo, what could be more appropriate than one described as “one long song funeral doom?” While the Welsh doom band containing this descriptor, Doubtsower, is new to me, the man behind the project, Matt Strangis, has three previous releases dating back to 2021. Although most of these earlier albums cross the one-hour mark, none of the songs run longer than fifteen minutes 1, so this is new territory for Doubtsower. Strangis describes his own songwriting process as “punk DIY,” and he does much of his recording at home, with some mastering help from Greg Chandler of Esoteric. For insomniacs, one long funeral doom song sounds like the perfect cure, but be careful, this doesn’t backfire and instead keeps you hooked and wide awake.

While the premise of a 48-minute funeral doom song brings to mind other ambitious projects from Bell Witch and Oak, Doubtsower’s The Past Melts Away with a Sneer turns out to be one weird beast. Doubtsower isn’t exactly a funeral doom band, but an experimental doom band. Strangis keeps his one song’s tempo slow—funeral doom slow—yet it has much more in common with the avant-garde music of John Cage than My Dying Bride or Esoteric. It makes use of syncopated riffs that cut short and disorient listeners, as well as some unusual noises, such as static scratches and the clicking and rattling of ratchets. “The Past Melts Away with a Sneer” also makes use of silences, though they’re not as lengthy as “4’33,” largely as a transitional tool. This use of odd sounds, silent moments, and suspenseful repetitions of short riffs creates an unsettling mood early on, and with the mix of sludge, I couldn’t help but think of experimental sludge/horror/doom outfit When the Deadbolt Breaks.

Over the course of its 48 minutes, The Past Melts Away with a Sneer is an ever-shifting amalgamation of styles, an amorphic blob that somehow holds everything together as a cohesive whole. Sounds often shift minute-by-minute despite the glacial pacing. While the early goings have the John Cage thing going, at the 8-minute mark, the track breaks out into the one segment that sounds like traditional funeral doom, with plodding drum beats, crushing guitars, and a low, harsh growl. Yet just as you think this is the direction it’s going, the song goes silent and then shifts into a new form. The extensive use of silence and light droning makes the sudden bursts of energy peppered throughout all the more striking. About 20 minutes in, “The Past Melts Away with a Sneer” morphs into industrial dance, snapping you awake and commanding your body to move. The song morphs yet again, this time into something hopeful and poppy, with light, Weezer-like strums. However, even this segment doesn’t last long, and somehow Strangis is able to convince us that these disparate sounds all form one coherent tune.

It’s pretty impressive how “The Past Melts Away with a Sneer” is able to remain engaging for its entire run, but some moments of repetition do derail portions of the track. This is most egregious at 29 minutes as Doubtsower transitions into a lengthy portion of sludge/doom. Throughout this approximately eight-minute segment, there’s a consistent, repetitive riff that grows tiresome over time. Still, the song rights itself for the finale with the return of a catchy piano/synth melody from the beginning. As this melody begins to fade into silence and lulls you into a sense of closure, the track gains a second wind and hurls forth an energetic set of industrial riffs and blast beats. There’s an unpredictability that catches you off guard and keeps the record fresh.

If the album I described above sounds like a nightmare, that’s the whole point. It’s meant to be a “disorienting descent into a nihilistic free-for-all,” and Strangis succeeds in making that vision come to fruition. It may not always be easy listening, but it’s rarely boring. Having spent some time with the prior Doubtsower records, this one stands out as Strangis’s most engaging and best-written. The Past Melts Away with a Sneer has caused me to question my usually negative relationship with experimental metal. It has left me feeling disoriented, but in a good way, and it’s an experience that I recommend for the curious and lovers of the weird.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Self-Release
Website: Bandcamp
Releases Worldwide: November 28th, 2025

#2025 #30 #avanteGarde #bellWitch #doomMetal #doubtsower #esoteric #experimentalMetal #funeralDoom #industrialMetal #johnCage #myDyingBride #nov25 #oak #review #reviews #selfReleased #sludgeMetal #thePastMeltsAwayWithASneer #weezer #welshMetal #whenTheDeadboltBreaks

Doubtsower – The Past Melts Away with a Sneer Review

By ClarkKent

It’s amazing how quickly November, and my month of doom, has flown by. It seems the constant exposure to slow-paced music has made the days move faster, not slower. For my final November doom promo, what could be more appropriate than one described as “one long song funeral doom?” While the Welsh doom band containing this descriptor, Doubtsower, is new to me, the man behind the project, Matt Strangis, has three previous releases dating back to 2021. Although most of these earlier albums cross the one-hour mark, none of the songs run longer than fifteen minutes 1, so this is new territory for Doubtsower. Strangis describes his own songwriting process as “punk DIY,” and he does much of his recording at home, with some mastering help from Greg Chandler of Esoteric. For insomniacs, one long funeral doom song sounds like the perfect cure, but be careful, this doesn’t backfire and instead keeps you hooked and wide awake.

While the premise of a 48-minute funeral doom song brings to mind other ambitious projects from Bell Witch and Oak, Doubtsower’s The Past Melts Away with a Sneer turns out to be one weird beast. Doubtsower isn’t exactly a funeral doom band, but an experimental doom band. Strangis keeps his one song’s tempo slow—funeral doom slow—yet it has much more in common with the avant-garde music of John Cage than My Dying Bride or Esoteric. It makes use of syncopated riffs that cut short and disorient listeners, as well as some unusual noises, such as static scratches and the clicking and rattling of ratchets. “The Past Melts Away with a Sneer” also makes use of silences, though they’re not as lengthy as “4’33,” largely as a transitional tool. This use of odd sounds, silent moments, and suspenseful repetitions of short riffs creates an unsettling mood early on, and with the mix of sludge, I couldn’t help but think of experimental sludge/horror/doom outfit When the Deadbolt Breaks.

Over the course of its 48 minutes, The Past Melts Away with a Sneer is an ever-shifting amalgamation of styles, an amorphic blob that somehow holds everything together as a cohesive whole. Sounds often shift minute-by-minute despite the glacial pacing. While the early goings have the John Cage thing going, at the 8-minute mark, the track breaks out into the one segment that sounds like traditional funeral doom, with plodding drum beats, crushing guitars, and a low, harsh growl. Yet just as you think this is the direction it’s going, the song goes silent and then shifts into a new form. The extensive use of silence and light droning makes the sudden bursts of energy peppered throughout all the more striking. About 20 minutes in, “The Past Melts Away with a Sneer” morphs into industrial dance, snapping you awake and commanding your body to move. The song morphs yet again, this time into something hopeful and poppy, with light, Weezer-like strums. However, even this segment doesn’t last long, and somehow Strangis is able to convince us that these disparate sounds all form one coherent tune.

It’s pretty impressive how “The Past Melts Away with a Sneer” is able to remain engaging for its entire run, but some moments of repetition do derail portions of the track. This is most egregious at 29 minutes as Doubtsower transitions into a lengthy portion of sludge/doom. Throughout this approximately eight-minute segment, there’s a consistent, repetitive riff that grows tiresome over time. Still, the song rights itself for the finale with the return of a catchy piano/synth melody from the beginning. As this melody begins to fade into silence and lulls you into a sense of closure, the track gains a second wind and hurls forth an energetic set of industrial riffs and blast beats. There’s an unpredictability that catches you off guard and keeps the record fresh.

If the album I described above sounds like a nightmare, that’s the whole point. It’s meant to be a “disorienting descent into a nihilistic free-for-all,” and Strangis succeeds in making that vision come to fruition. It may not always be easy listening, but it’s rarely boring. Having spent some time with the prior Doubtsower records, this one stands out as Strangis’s most engaging and best-written. The Past Melts Away with a Sneer has caused me to question my usually negative relationship with experimental metal. It has left me feeling disoriented, but in a good way, and it’s an experience that I recommend for the curious and lovers of the weird.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Self-Release
Website: Bandcamp
Releases Worldwide: November 28th, 2025

#2025 #30 #avanteGarde #bellWitch #doomMetal #doubtsower #esoteric #experimentalMetal #funeralDoom #industrialMetal #johnCage #myDyingBride #nov25 #oak #review #reviews #selfReleased #sludgeMetal #thePastMeltsAwayWithASneer #weezer #welshMetal #whenTheDeadboltBreaks

Doubtsower – The Past Melts Away with a Sneer Review

By ClarkKent

It’s amazing how quickly November, and my month of doom, has flown by. It seems the constant exposure to slow-paced music has made the days move faster, not slower. For my final November doom promo, what could be more appropriate than one described as “one long song funeral doom?” While the Welsh doom band containing this descriptor, Doubtsower, is new to me, the man behind the project, Matt Strangis, has three previous releases dating back to 2021. Although most of these earlier albums cross the one-hour mark, none of the songs run longer than fifteen minutes 1, so this is new territory for Doubtsower. Strangis describes his own songwriting process as “punk DIY,” and he does much of his recording at home, with some mastering help from Greg Chandler of Esoteric. For insomniacs, one long funeral doom song sounds like the perfect cure, but be careful, this doesn’t backfire and instead keeps you hooked and wide awake.

While the premise of a 48-minute funeral doom song brings to mind other ambitious projects from Bell Witch and Oak, Doubtsower’s The Past Melts Away with a Sneer turns out to be one weird beast. Doubtsower isn’t exactly a funeral doom band, but an experimental doom band. Strangis keeps his one song’s tempo slow—funeral doom slow—yet it has much more in common with the avant-garde music of John Cage than My Dying Bride or Esoteric. It makes use of syncopated riffs that cut short and disorient listeners, as well as some unusual noises, such as static scratches and the clicking and rattling of ratchets. “The Past Melts Away with a Sneer” also makes use of silences, though they’re not as lengthy as “4’33,” largely as a transitional tool. This use of odd sounds, silent moments, and suspenseful repetitions of short riffs creates an unsettling mood early on, and with the mix of sludge, I couldn’t help but think of experimental sludge/horror/doom outfit When the Deadbolt Breaks.

Over the course of its 48 minutes, The Past Melts Away with a Sneer is an ever-shifting amalgamation of styles, an amorphic blob that somehow holds everything together as a cohesive whole. Sounds often shift minute-by-minute despite the glacial pacing. While the early goings have the John Cage thing going, at the 8-minute mark, the track breaks out into the one segment that sounds like traditional funeral doom, with plodding drum beats, crushing guitars, and a low, harsh growl. Yet just as you think this is the direction it’s going, the song goes silent and then shifts into a new form. The extensive use of silence and light droning makes the sudden bursts of energy peppered throughout all the more striking. About 20 minutes in, “The Past Melts Away with a Sneer” morphs into industrial dance, snapping you awake and commanding your body to move. The song morphs yet again, this time into something hopeful and poppy, with light, Weezer-like strums. However, even this segment doesn’t last long, and somehow Strangis is able to convince us that these disparate sounds all form one coherent tune.

It’s pretty impressive how “The Past Melts Away with a Sneer” is able to remain engaging for its entire run, but some moments of repetition do derail portions of the track. This is most egregious at 29 minutes as Doubtsower transitions into a lengthy portion of sludge/doom. Throughout this approximately eight-minute segment, there’s a consistent, repetitive riff that grows tiresome over time. Still, the song rights itself for the finale with the return of a catchy piano/synth melody from the beginning. As this melody begins to fade into silence and lulls you into a sense of closure, the track gains a second wind and hurls forth an energetic set of industrial riffs and blast beats. There’s an unpredictability that catches you off guard and keeps the record fresh.

If the album I described above sounds like a nightmare, that’s the whole point. It’s meant to be a “disorienting descent into a nihilistic free-for-all,” and Strangis succeeds in making that vision come to fruition. It may not always be easy listening, but it’s rarely boring. Having spent some time with the prior Doubtsower records, this one stands out as Strangis’s most engaging and best-written. The Past Melts Away with a Sneer has caused me to question my usually negative relationship with experimental metal. It has left me feeling disoriented, but in a good way, and it’s an experience that I recommend for the curious and lovers of the weird.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Self-Release
Website: Bandcamp
Releases Worldwide: November 28th, 2025

#2025 #30 #avanteGarde #bellWitch #doomMetal #doubtsower #esoteric #experimentalMetal #funeralDoom #industrialMetal #johnCage #myDyingBride #nov25 #oak #review #reviews #selfReleased #sludgeMetal #thePastMeltsAwayWithASneer #weezer #welshMetal #whenTheDeadboltBreaks