#FuneralDoom

2026-02-27
Post Luctum – Timor Lucis Review By Kenstrosity

Even with someone as infinitely absorbent as this sponge, things slip through the cracks sometimes. In 2019, I gave a shout to Post Luctum’s debut EP After Mourning, citing its very promising funereal pall as a welcome comrade to contemporary heavy hitters like Altars of Grief and Slow. Somehow, some way, I completely missed not one, not two, but three full-lengths from the Maryland-based solo artist in the span between then and 2026’s Timor Lucis. But it couldn’t have come at a better time, with the inclement weather demanding tunes of a dour, reposed, overcast character. The only variable left is how much Post Luctum changed in the years since my last visit.

Aside from overall recording quality and songwriting polish—both of which have improved significantly over the course of seven years—Post Luctum are exactly as I remember, just more refined. Like a friend for whom time apart never creates a mire of awkwardness at the point of reunion, mastermind Ian Goetchius’ slow and steady despair rings with the same earnestness that made After Mourning such a striking proof of concept. At once, I feel comforted and warmed by Timor LucisSlowed melodies, chilled by its Altars of Grief-like eulogy, and heartened by post-metallic touches that evoke hints of In Mourning or Latitudes. It’s a reliable sound that should be familiar to anyone who partakes of the funeral side of the doom spectrum, and Post Luctum applies it with poise and passion.

Timor Lucis by Post Luctum

As the crooning cleans of “Approaching Light” give way to the lumbering march of the deadly “Shrouded by the Sea,” Timor Lucis envelops me in a kind of sorrow that pulls me into full immersion with an uncanny ease. Almost an autonomic response beyond my control, this immersion feels akin to immediacy in the context of this music, where memorability is found not so much in individual notes and compartmentalized verses, but rather in moods and moments of emotional significance. Even as songs gently coast from a desperate roar to a delicate breeze (“Sunken Fate” into “In Water”) to form notable highlights, I always recall the moment I heard it—where I was, what I felt, what visions these sonic waves summoned from my thoughts—more vividly than the music’s corporeal form. A different impression than what many artists design for their audience, this experience is its own kind of magic. Difficult to conjure and even trickier to master, Post Luctum struck the right balance of texture, timing, and feeling to invoke such magic and impose its power on my mind, revealing Timor Lucis’ greatest strength.

Curious, then, that once the final note fades into the ether, I struggle to find that pull which brings me back into Timor Lucis’ loving, tear-soaked embrace. As I continued my tenure with this record, I wondered if the root of that struggle was familiarity. Songs like “Disavowed,” “A Curse Now A Plague,” and “I Welcome In the Cold” reminded so strongly of the core of my funeral doom rotation (Slow, Un, Woebegone Obscured) that Post Luctum inadvertently guided me directly into their clutches, and I found myself forgetting about Timor Lucis. I realize now that this is the double-edged sword of the aforementioned strength this record holds. Immersive as it undoubtedly is, and as reliable as its writing is in achieving that immersion minute-to-minute, Timor Lucis simply isn’t bold enough as a distinct entity to draw me away from those acts it resembles with which I enjoy a deeper, more established relationship.

This dichotomy exposes one of the greatest challenges not just in reviewership, but also in songwriting from the perspective of the listener. A record is not made unworthy strictly because it is familiar, nor is my enjoyment of this material lessened by my personal history with the genre. Chances are good that I will return to Timor Lucis with a willing and eager heart over the course of the year. Equally, I acknowledge that it will never meaningfully challenge those records I deem the highest order in the style. On the other hand, you, the reader, might find this is your highest order. Regardless, Post Luctum deserves a chance to take you into its heart, and in the spirit of that truth, I offer my warm, albeit moderated, recommendation.

Rating: Good!
DR: 9 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: postluctum.bandcamp.com | facebook.com/postluctum
Releases Worldwide: February 6th, 2026

#2026 #30 #AltarsOfGrief #AmericanMetal #DeathMetal #DoomMetal #Feb26 #FuneralDoom #InMourning #Latitudes #MeuseMusicRecords #PostLuctum #Review #Reviews #Slow #TimorLucis #Un #WoebegoneObscured

ORNAMENTOS DEL MIEDO - En El Horizonte De La Memoria EP [FULL ALBUM] 2026 **including lyrics**

peertube.gravitywell.xyz/w/frt

COREandCOCoreandco
2026-02-27

❗ Deuxième volet de cette journée 𝗕𝗲𝗹𝗹 𝗪𝗶𝘁𝗰𝗵 avec le tout récent et excellent "Stygian Bough: Volume II"...

coreandco.fr/chroniques/bell-w

COREandCOCoreandco
2026-02-27

❗ Journée 𝗕𝗲𝗹𝗹 𝗪𝗶𝘁𝗰𝗵 et on commence avec le très bon "Stygian Bough Volume I" et son funeral doom efficace...

coreandco.fr/chroniques/bell-w

2026-02-24

WITHIN DEATH'S KINGDOM - The Rain Her Tears From Afar (Remastered Version) [FULL ALBUM] 2026

peertube.gravitywell.xyz/w/pi9

2026-02-10

🇬🇧 50 tabs with music I still have to listen to in my 'Bandcamp' browser tab group.

Evoken - 'Mendacium'

Funeral doom, for when normal doom/death isn't heavy enough.

evokenofficial.bandcamp.com/al

#Bandcamp #thingstolistento #Evoken #funeraldoom #doommetal #deathmetal #NewJersy #USA

2026-02-08
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.

Exequiae by Lone Wanderer

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

#2026 #40 #Exequaie #FuneralDoom #GermanMetal #Godthrymm #HighRollerRecords #Jan26 #LoneWanderer #MyDyingBride #Oromet #Review #Reviews #SwallowTheSun
2026-02-07

Just as I dislike the 'books read' as a goal for reading, I think a single listen to a song should take in to account the runtime of a song.

Disclaimer: This toot is in no way inspired by listening to funeral doom at the moment.

#FuneralDoom #LowAndSlow

2026-02-07

As the fog covers northern parts of NL as a suffocating blanket of #gloom it feels perfect for #Saturdoom.

I find myself exploring the depths of @AHAB’s discography (pun very much intended) and I’ve landed on this track for #Saturdoom:

👥 Ahab
💿 The Call Of The Wretched Sea
🎶 Below The Sub
🔗 song.link/t/68084861

It feels good here on the bottom of the ocean, the murky darkness pressing down as much as the column of water above me. Maybe next week I’ll come up for air.

#DoomMetal #FuneralDoom

Minetosh 🇪🇺 🇩🇪 🇨🇵 🐧 🎶Minetosh@ieji.de
2026-02-07

Album du jour
Voici un nouvel article de ma série où je vous présente un album que j'écoute en ce moment ou que j'apprécie tout simplement. La sélection est irrégulière et aléatoire. Il ne s'agit pas forcément de #metal, ni d'une nouveauté.
Tous ces albums font partie de ma collection (Vinyle, CD, FLAC, MP3, etc.).

Album du jour :
Esoteric (UK) – The Maniacal Vale (2008)

Funeral-Doom dans toute sa splendeur

#Metal #esoteric #doom #FuneralDoom #musik #music #musique #minetosh

Pochette de l'album The Maniacal Vale du groupe Esoteric, sorti en 2008
Minetosh 🇪🇺 🇩🇪 🇨🇵 🐧 🎶Minetosh@ieji.de
2026-02-07

Album of the Day
Another installment in my series of posts where I present an album I'm currently listening to or simply enjoy. These are irregular and randomly selected. It doesn't always have to be #Metal, and it won't always be a recent release.
But all of these albums are part of my collection (Vinyl, CD, FLAC, MP3, etc.).

Today's Album of the Day:
Esoteric (UK) –The Maniacal Vale (2008)

Funeral Doom at its best

#Metal #esoteric #doom #FuneralDoom #musik #music #musique #minetosh

Cover of the album The Maniacal Vale by the band Esoteric from 2008
Minetosh 🇪🇺 🇩🇪 🇨🇵 🐧 🎶Minetosh@ieji.de
2026-02-07

Album des Tages
Eine weitere Folge in der Reihe meiner Posts in denen ich ein Album vorstelle, das ich gerade höre oder einfach nur mag. In unregelmäßiger Folge und auch zufällig ausgewählt. Muss und wird nicht immer #Metal sein. Es werden auch nicht immer aktuelle Alben sein.
Aber alle dieser Alben sind Teil meiner Sammlung (Vinyl, CD, FLAC, MP3, ...)

Heutiges Album des Tages:
Esoteric (UK) – The Maniacal Vale (2008)

Funeral-Doom in Vollendung

#Metal #esoteric #doom #FuneralDoom #musik #music #musique #minetosh

Cover des Albums  The Maniacal Vale von der Band Esoteric aus dem Jahr 2008
2026-01-10

#Saturdoom is here, I would like to shine a darkened torch upon the Italian #FuneralDoom band DVM SPIRO that released the first single of their upcoming record.

👥 DVM SPIRO
💿 MMXXVI - Grave
🎶 Dissentimento
🔗 song.link/t/468957328
:bandcamp: dvmspiro.bandcamp.com/album/mm

#doom #DoomMetal

2026-01-09
Dvm Spiro – MMXXVI – Grave Review By Thus Spoke

As is perhaps unsurprising for a doom act, Dvm Spiro appear to have a preoccupation with death. The subtitle of their debut, MMXIX – In Frigidum Lectum is Latin for In a Cold Bed—presumably an allusion to one’s grave—and now, sophomore MMXXVI – Grave states that concept explicitly. This legacy in misery actually extends further into the past, as three of Dvm Spiro’s four members also play in longstanding Italian doom outfit Nihili Locus. With this kind of doom pedigree, the promotional references to legendary artists My Dying Bride, Funeral, and Shape of Despair feel promising and are apt insofar as the core vibe goes. But there are far more sides to Grave than these clickbait comparisons can capture, and it’s in these that the record stands or falls.

Grave is funeral doom, broadly categorized. It borrows plenty from a cavernous and malevolent doom-death on the one hand, and an almost post-doom ambience on the other. Rather than any of the actual touchstones mentioned, it is Ahab that Dvm Spiro’s music seems to channel most strongly and frequently, the particular rhythm and tone of warm liquid plucks and an intruding sinister melody—combined with the crushing heaviness either side—reminding me in particular of Call of the Wretched Sea (“Indistinta Morte,” “Insoluto D’Anima”). There are also a few hints of the aforementioned Funeral (“Troppo Lente Scendono Le Tue”) and Endonomos (“Dissentimento”). In general, Dvm Spiro largely eschew that grandiose transcendence of synth-forward funeral doom and tip the melodic scales away from mournful beauty in favor of a more unsettling dissonance or uncomfortable modal shifting. There are still majestic, mellifluous moments, but Grave seems intended to trouble its listener more than anaesthetise or provide catharsis.

It’s this subversion of aesthetic expectations that gives Dvm Spiro and Grave their character. On paper, the vocal dynamic between female cleans and male harsh vox in the context of doom suggests an ethereal Beauty-and-the-Beast dichotomy—à la Shape of Despair or Draconian. But Dvm Spiro don’t play into the trope so neatly, elevating tension with multifaceted performances from both vocalists. Valeria De Benedectis’ singing carries some of the record’s most beautiful moments (“Indistinta Morte,” “Troppo Lente…”), but also some of the most discomfiting as her voice lapses into haughty, ardent repetition (“Indistinta Morte”) or turns sharply into a malevolent tone (“Preludio,” “Dissentimento”). Roberto Ripollino’s growls join her sometimes for an undeniably powerful duet of opposites (“Dissentimento”) but so too do Maurizio DeMichelis’s raspier snarls (“Troppo Lente…,” “Insoluto D’Anima”), creating a blunter, less perfect contrast that jostles the emotions. Pianos, strings, and guitars alike flow, strum, and weep with pathos for a phrase (“Troppo Lente…”), a rare rise above the gloom (“Preludio,” “Dissentimento”), or a dreamlike intro (“Indistinta Morte,” “Insoluto D’Anima”); in these moments, you could almost believe you’re in the more comforting, less real world of another, prettier doom. Grave, however, has other designs, shifting into discordance or another key, dropping a strange tritone and an accompanying guitar chord (“Preludio,” “Indistinta Morte,” “Troppo Lente…”), forcing you to confront the negativity.

Grave is thus striking, but not always in a way that works. I couldn’t and won’t argue that metal of any kind must be an unchallenging listening experience, but Dvm Spiro’s choices sometimes go beyond adding nuance and approach confusion. The modulations can be too jarring (“Preludio,” “Insoluto D’Anima”), songs too long without meaningful builds (“Indistinta Morte”), and prevarication around structures and refrains sometimes frustrating (“Troppo Lente…”). There is both too much and too little happening for the album’s epic 75-minute length to maintain the coherence and magnetism that might be added with more flowing compositions that committed more firmly to a sinister dissonance or uplifting pathos through each successive movement. And so multifaceted passages tend to distract, and extended sections pull back the progression of compositions, rather than drive it onwards.

Let it not be said that Grave is thereby a weak record. Its brilliant moments of both harmony (“Troppo Lente…”) and malevolence (“Indistina Morte”) shine and prove Dvm Spiro capable of magnificence in both aspects. There is a peculiar power in the subtleties and variance of their melodic and compositional approaches that may resonate more with some listeners than others. As a whole, it doesn’t possess the magnitude or the mystique to fully envelop right now. Perhaps its strength is far more insidious.

Rating: Good
DR: 7 | Format Reviewed: 320 kbps
Label: My Kingdom Music
Websites: Bandcamp | Facebook
Releases Worldwide: January 16th, 2025

#2026 #30 #Ahab #DeathDoom #Doom #DvmSpiro #Endonomos #Funeral #FuneralDoom #ItalianMetal #Jan26 #MMXXVIGrave #MyKingdomMusic #NihiliLocus #Review #Reviews
𝕁𝕠𝕙𝕒𝕟johan@tilde.zone
2026-01-09

@Razunter

Звук 40 Гц вымывает бляшки у пожилых приматов, характерные для болезни Альцгеймера

Важно понимать, что не «звук 40 Гц», а аудиостимуляция частотой 40 Гц с использованием чистого тона 1 кГц. Т.е. вот такие импульсные клики.

А #FuneralDoom можно слушать просто так, для души 😉

RE: mastodon.social/@Razunter/1158

𝕁𝕠𝕙𝕒𝕟johan@tilde.zone
2026-01-07

#music #митол #FuneralDoom

Николай Гумилев — Завещанье

Очарован соблазнами жизни,
Не хочу я растаять во мгле,
Не хочу я вернуться к отчизне,
К усыпляющей, мертвой земле.

Пусть высоко на розовой влаге
Вечереющих горных озер
Молодые и строгие маги
Кипарисовый сложат костер

И покорно, склоняясь, положат
На него мой закутанный труп,
Чтоб смотрел я с последнего ложа
С затаенной усмешкою губ.

И когда заревое чуть тронет
Темным золотом мраморный мол,
Пусть задумчивый факел уронит
Благовонье пылающих смол.

И свирель тишину опечалит,
И серебряный гонг заревет
В час, когда задрожит и отчалит
Огневеющий траурный плот.

Словно демон в лесу волхвований,
Снова вспыхнет мое бытие,
От мучительных красных лобзаний
Зашевелится тело мое.

И пока к пустоте или раю
Необорный не бросит меня,
Я еще один раз отпылаю
Упоительной жизнью огня.

Who Dies in Siberian Slush - Завещание Гумилева

youtube.com/watch?v=k8skYgeuJXA

Youtube Music, SoundCloud: song.link/ckxrqb3mgrcmq

Yandex: music.yandex.ru/album/1004792/

2026-01-06

We enter the top 3 with this diamond of a crushingly heavy slow #FuneralDoom record from Aerial Ruin & Bell Witch. In fact, before you listen to it, it is just carbon, that's how absolutely crushing this record is.

Close your eyes, and before you know it, the full hour is over leaving you wanting to hit the repeat, again, and again. Every drum hit hits, every passage feels like an aeon gone bye in a moment.

👥 Aerial Ruin & Bell Witch
💿 Stygian Bough Volume II
🎶 King of the Wood
🔗 song.link/t/461518768
:bandcamp: bellwitch.bandcamp.com/album/s

#Doom #AOTY2025

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