After five years, The Ruins of Beverast conveys its awe-inspiring choirs of doom, but this time, all the elements seem diluted between different genres. It’s as black as pitch and otherworldly melancholic, and the dark tapestry of signature clean vocals and somber atmosphere is clearly showcased in the eponymous track “Tempelschlaf”. Throughout the epic nine-minute track, the music immerses you in a hypnotic mood that takes the listener through a mystical contemplation. The subtle song arrangements that encapsulate this album build up slowly, settling into a mid-range tempo.

“Day of the Poacher” begins at a frantic and furious tempo. The sinister shrieks have been replaced; however, Alexander von‘s vocals are less effective than before, with the blackened song structures featuring heavy riffs. The sepulchral effects are similar to those found in darkwave music, while the blast beats are embedded to give a furious, morbid sound.

The guitar hooks and tribal elements are flawlessly layered, with massive tremolo-picked riffs and the drums providing a rhythmic sound. Despite the heaviness and monolithic spectrum of blackened doom, mastermind Alexander von Meilenwald demonstrates versatility as a songwriter; the result is a more focused album that blends multiple musical inspirations, from industrial ambiance to haunting dark atmosphere.

The seventh album is incredibly creative and atmospheric; the complexity is embedded in deep, somber soundscapes on “Cathedral of Bleeding Statues” which is one of the best songs on the album. The Gregorian chants are implemented to find space between the grandiose synths and ominous moments that slowly unveil with each listening. At times, the slower moments tend to sound elegant when the gothic vocals are layered over the heavy monolithic riffs and dynamic drums. The contrast between the harsh vocals and melodic gothic doom metal hooks is memorable, despite the tempo changes, which most of the time sound slow and atmospheric.

“Alpha Fluids” starts heavily. The drums on this track are powerful as it transitions into frantic blackened metal, and there are plenty of faster sections with hooks that enhance the music. The Ruins of Beverast carves a unique niche in the realm of gothic/doom metal, fortifying its place as a top-notch band. The album also includes some fast-paced songs, such as “Babel, You Scarlet Queen!” It begins with oppressive blackened riffs, and later, the musical aura of ancient Northern European eschatology echoes.

The multilayered sound gives this track a gloomy feel, conjuring up dark melodies and the mystical past of ancient kingdoms. Still, the morbid melancholy surrounding the music lends a dark tapestry. “Last Theatre of the Sea” is another personal favorite track, which begins with dark strings evoking an ominous mystique with gloomy eastern-infused musical hooks. The eerie epic feel is timeless and otherworldly beautiful, juxtaposed with grim magical soundscapes, backed with clean vocals that are dominant.

The final monolithic track, “The Carrion Cocoon” is splendid and carries the weight of the album. It begins with the hypnotic soundscapes of the slow guitar, and melancholic vocals are laced that keep you in a gloomy mood from its opening moments. The music slowly unveils many details once you immerse yourself in the spectral dark realm; the sinister heaviness is perfectly captured in this thirteen-minute song.

The creative work and profound songwriting give the entire work a multi-layered and inspired display of powerful, spiritual soundscapes with its reverb-soaked instruments. One must plunge into this dark album, which showcases cinematic textural subtlety and reaches its climax.

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