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GODTHRYMM (Ex-MY DYING BRIDE, Ex-ANATHEMA) Announces New Record, Streams 'Truth In My Own'
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Angry Metal GuySolNegre – Anthems for the Grand Collapse Review
By ClarkKent
Just off Spain’s Mediterranean coast lie the Balearic Islands. Among the approximately 1.2 million island residents is a cadre of musicians who appear to have played together in a variety of projects for some time.1 SolNegre comprises four of these musicians along with a handful of guest contributors. Based on the photos of the beautiful sandy beaches and clear blue water, you might think these guys would play a cheerful genre like Beach Boys-core. Yet, even the beach life must have its woes because what SolNegre deliver is a slab of melancholic doom that has more in common with My Dying Bride or Saturnus than any band playing songs about Piña coladas. Just the sight of their apocalyptic album title, Anthems for the Grand Collapse, makes me want to soak in one of those lovely beaches to rinse off the bleakness. Let’s dive in and see how well these island dwellers do the sadboi.
While the intro for opener, “The Axiom – Song for the Inert Part II,”2 reveals SolNegre’s flair for using synths to create atmosphere, the meat of the song establishes their mix of crushing My Dying Bride riffs and growls with the more energetic death/doom of Novembers Doom. A hooky melodic lead wends its way throughout, culminating in an ambitious solo that takes the lead to new levels. The incredibly catchy follow-up, “The Hollow Inside,” includes a chorus that potentially has appeal for a mainstream audience, even if the track goes off in decidedly non-mainstream directions. The flip side to the death/doom is an Ennui-level funeral doom tune that casts a pall over the already dour mood (“For All that Could Have Been”). SolNegre play sorrowful tunes in an impressively varied number of ways.
The Axiom – Song for the Inert Part 2 by SolNegre
The band members’ strong chemistry shows in their talent and cohesiveness. Ûkh lays down a powerful vocal performance with some muscular death growls. He adds heft and punch alongside an impressively bass-heavy guitar attack. Gebre proves to be the glue that adheres the record together. His deep, chugging bass features on nearly every track, and he also gets to play a nifty jazz solo midway through “The Hollow Within.” Guest contributors add some varied character throughout, such as a solo from Mike Le Rosetti that comprises almost the entire back half of “The Axiom” and some cleans from Pedro Inglés during the jazzy segue on “The Hollow Within.” SolNegre hands the reins over to recurring guest singer Gadea es Ineseta3 and violinist Núria Luis on the remarkably lovely “In the Stillness of the Womb.” Though it skews more soft rock than extreme metal, it features such poignant and affecting performances from Ineseta and Luis that it feels right at home among these anthems to a grand collapse.
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A few iffy songwriting decisions do keep Anthems for the Grand Collapse from greatness, however. For one, SolNegre struggle with coherent lyrics on some tracks. This is especially problematic on “The Hollow Within,” where an awkward attempt at a metaphor combining loneliness, water, and drowning leads to the laughably bad line, “A room without doors or windows / Knowing how to swim is wise.” It’s a sore part of an otherwise terrific song. Further, the hot and cold pacing creates a stuttering feel throughout the record, with a few tunes creeping too slowly and others creeping on a bit too long. “For All That Could Have Been” in particular sags in the middle of the album. Individually, the songs are good to great, but transitions between them can be jarring.
Next time you want to balance out your bright and cheery beach vacation with some downer music, you should pack SolNegre’s Anthems for the Grand Collapse. It’s sure to have you and your family looking to drown out your loneliness and sorrows in the warm, beautiful waters lapping at your toes. This has proven to be a solid sophomore effort from the Balearic Islands. I love to hear the passion on display, and even where the band shows some warts, it only makes the record all the more endearing. I hope those island beaches don’t keep these guys happy and occupied for too long so they can put out another record sooner rather than later.
Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Meuse Music
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: April 3rd, 2026
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GODTHRYMM, Featuring Former MY DYING BRIDE Members, To Release 'Projections' Album
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Gal Gur-ArieMy Dying Bride - Feel the Misery
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Listen: HIGH PARASITE Feat. MY DYING BRIDE’s AARON STAINTHORPE Release New Single “Drag Me Under”
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Ex-MY DYING BRIDE Frontman AARON STAINTHORPE Releases New HIGH PARASITE Single 'Drag Me Under'
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AARON STAINTHORPE To Perform MY DYING BRIDE Material With DEAD SPACE CHAMBER MUSIC In Bristol
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Ennui – Qroba Review
By Grymm
Got a question for you all: when’s the last time an album just absolutely, from out of nowhere, blindsided you and kept you enthralled for the entirety of its length on the first play? I don’t mean from your favorite bands (though that’s pretty damn cool, too), but from a completely out-of-left-field pick in the promo sump?1 Georgian funeral directors Ennui have been toughing it out with their craft since 2012’s Mze Ukunisa, with the then-duo working with what they had available. Now, the duo is a full-fledged band, and on their fifth album, Qroba, they hit graveyard paydirt.
From the very first moment the keyboards swell in opener “Antinatalism,” you know you’re in for some fun(erally dismal) times. Creeping at the pace of a drugged-out snail in the Antarctic region, “Antinatalism” brilliantly glistens while also dragging you through the icy snow with its crashing (and crushing) riffs and methodical drumming. When founder David Unsaved growls, it’s with the force of the bear from Annihilation after freshly devouring Daniel Neagoe (Eye of Solitude and a fuckton of other bands), further throwing the listener into a pit of existential despair and woe. Most impressively, at over 10 minutes, the time flies by effortlessly, due to its ability to draw you in and keep you enthralled for the entire length.
The other four songs on this 62-minute behemoth hold up pretty damn well themselves. The album centerpiece “Decima,” which features mournful melodies from a panduri (three-stringed lute) that accentuate the sorrow midway into the song, giving the album even more breathing room to expand and envelop you in its snare. “Becoming Void” sounds like Canto III on steroids, picking a fight with Turn Loose the Swans-era My Dying Bride for lunch money, and again feels like a six-minute song at over 15 minutes due to how well-crafted it is. None of the songs overstay their welcome, but they still feel like soulful journeys to a mournful end.
Produced by Greg Chandler (Esoteric), Qroba does an amazing job of giving breathing space while also smothering the listener. The drums feel cavernous and monstrous, plodding with intent. The scant few leads2 amplify the dour vibes a thousandfold, making damn sure there’s no light escaping this realm. If there was a nitpick to be had, this is the epitome of mood music. You’re not going to grab this on a warm, sunny day out in the sun with some lemonade and a book to read.3 Qroba is solemn, reflective music if there ever was some.
And this fits in quite well with other solemn, reflection-time music from the likes of Skepticism and Shape of Despair. Qroba came at a time when I didn’t know I needed it, with all the chaos going on around the world as well as in my own circle, but I’m glad it did, as this has been playing non-stop since I first laid ears upon it. If you’ve never taken to funeral doom ever, Ennui won’t change your mind, as this is sorrow personified and exponentially amplified. However, if you need a severe purging, welcome to your new favorite band.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 319 kbps mp3
Label: Meuse Music Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026
Lone Wanderer – Exequiae Review
By ClarkKent
It’s no secret that funeral doom is all about death, but in case you weren’t aware, Lone Wanderer hits you over the head with the fact (don’t worry, it’s not a fatal whack). The title of their latest record, Exequaie, is Latin for “funeral rites.” The album cover, from Ernst Ferdinand Oehme’s 1828 painting Procession in the Fog, depicts a ghostly funeral procession, and most song titles use death as a theme in some shape or form. Lone Wanderer have been at this for over ten years, but they’ve been independent until now, signing with High Roller Records for the release of Exequaie. According to the band’s promo sheet, this will be album number three, but perhaps it’s telling how funeral doom warps one’s sense of time when they claim that their 43-minute debut is an EP. Their follow-up, The Majesty of Loss, is only three minutes longer, so it’s anyone’s guess where they draw the line between LP and EP. Their albums have only gotten longer since, with The Faustian Winter hitting the hour mark and now Exequaie reaching a lofty 72 minutes. Honestly, if you’re looking for a soundtrack to your funeral, this isn’t a bad option.
On the funeral doom scale, Lone Wanderer fits the Oromet scale more closely than My Dying Bride or Godthrymm. Exequaie mixes the gentle with the crushingly heavy, and the heavier riffs carry more reverb than muscle, lending a more tranquil feel than raw power. Over the course of 24 minutes, the beastly opener “To Rest Eternally” demonstrates Lone Wanderer’s slow burn approach, with impenetrably deep vocals, glacial drum beats, and a slowly developed melody. The gentler portions put away the booming drums and instead twinkle with arpeggiated rhythm while the bass plays out a complementary melody. We hear this tug and pull throughout Exequiaie, from the melancholic and heavy to something more peaceful, still tinged with sorrow but carrying a little hope. Ironically, “Anhedonia”1 showcases the album’s most pleasurable and memorable riffs during its opening few minutes. The remainder is also exquisite, delving into immense sorrow before closing out in tranquility. The song guides you into gentle acceptance of the fate that awaits us all at the end.
Going in line with the “funeral rites” theme, plenty of elements in Exequaie appear to represent religious symbols or godly figures. The opening minutes of “To Rest Eternally” provide a distant reminder of a church setting with the tolling of bells. This holy setting returns in the finale, “Epistemology of the Passed,” where organs play a mournful dirge alongside wistful arpeggios. The vocals from Bruno Schotten serve as an omnipresent character, his low rumbles coming off like thunder rolling through the sky. Scattered throughout the album, Lone Wanderer perform spoken word portions that serve to enhance this godly persona. While such song segments are generally a nuisance, here they fit seamlessly, taking on the presence of an Oz-like character, commanding yet distant. The purpose of these elements may be inscrutable, but they do provide a sense of formality and authority accompanying death.
As great as the individual tracks are, Exequiae’s biggest obstacle is its own length. With any funeral doom record, holding the listener’s attention can be a challenge, and a 72-minute runtime across 5 songs feels more like work than pleasure. Yet there is plenty to enjoy on this epic record, and Lone Wanderer does implement some variety to mix things up a bit. “Existence Nullified” has a moment of chugging death-doom riffs that take me back to early Swallow the Sun. “Epistemology of the Passed” has a similar increase in tempo thanks to energetic tremolos and brisk drum beats. These moments are brief and few, but all the more notable because of their rarity. In the end, Exequaie’s length isn’t a deal breaker because it has such exquisite compositions. There’s just so much beauty in the music it could go on for twice as long and it’d still be heavenly.
Lone Wanderer is kicking funeral doom off to a great start for 2026. There’s something about the band’s often gentle sound that creates calm, as opposed to bands that lay the despair and melancholy thick with more powerful, overbearing guitar tones. Don’t let the 72 minutes intimidate you. Set aside some time and let Exequiae’s mix of melancholic, peaceful, and even hopeful tones wash over you and transport you, for a time, to a place where you no longer need to worry.
Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Website: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026
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