I wouldn’t say that I’m the type of person who usually needs to be in a particular setting to appreciate a given piece of music. Obviously, sometimes I’ll feel inclined to listen to something specific, but in general, if I like something, I like it anytime (and vice versa). However, doom metal, especially funeral doom, seems to be the exception for me, requiring the right state of mind to fully appreciate its stripped-back character. I happened to find myself in this state when selecting Grave Monolith, a funeral doom duo from Portland Oregon, for review. Their self-titled debut record releases on the eve of Halloween, which is the best time of year to be in the mood to brood.

If you are one who is put off by the drawn-out, static nature of funeral doom, Grave Monolith may be the answer to your woes. While the core of Grave Monolith’s sound is a drawn-out funereal procession which takes cues from Evoken and Atramentus, a willingness to experiment with different tempos keeps things unpredictable. For instance, if you stick with the opening song “Abhorrent State of Bliss” for a few minutes, you’ll be treated to an upbeat organ-led section that veers close to prog rock and puts the fun in funeral doom. The prevailing atmosphere in Grave Monolith may be slow and spooky, but the guitars aren’t afraid to riff or solo here and there. In addition to the organ, various other instruments such as piano and cello are used to augment the emotional impact of these soulful dirges.

Grave Monolith’s greatest strength is surprising the listener with deviations from what would otherwise be standard crushing doom metal. This is exemplified in “Wounds of the Flesh, Scars of the Soul.” Funeral doom is not exactly known for having choruses, but this song has one, which is haunting to the point where it lingers in my mind after I’m done listening. As the song progresses, I’m surprised again by the manifestation of tremolo riffs, blast beats, and higher-pitched rasps. This supplementation of atmospheric black metal fits in with the somber doom metal better than I would have expected, and it’s satisfying when it intertwines with the final chorus.

That said, I don’t mean to imply that Grave Monolith relies solely on novelty to maintain interest. Grave Monolith is methodically and tastefully paced in a way that causes its four lengthy tracks to glide by. The drum tempo in “Oblivion’s Thrall” unhurriedly weaves a web cocoon around me, leaving me to wait comfortably to be mentally consumed. The contrast between the gentle piano parts and the stifling doom is also gratifying, as is the contrast between the hopeful guitar melodies and the cavernous growls in “Hearts of Violence,” which reminds me slightly of Gloombound. There is an ambient section in the middle of “Abhorrent State of Bliss” that lasts too long, and the fadeout song outros are a bit of a letdown after all the painstaking songbuilding. Overall, though, Grave Monolith has an impressive grasp of long-form songwriting on their debut.

I initially reached for Grave Monolith in keeping with the Halloween season, but found a record that I can continue to enjoy after the candy runs out. It was a wise decision to end after 45 minutes and four tracks, as one more of similar duration could have become too wearisome. The way that Grave Monolith can bend so many conventions of funeral doom while still preserving the core attributes of the genre is commendable. I look forward to hearing them continue to do so, which will hopefully include further integration of the blackened elements. If this is the starting point for Grave Monolith’s sound, I expect it to grow into something monstrously superb.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Meuse Music Records
Websites: gravemonolith.bandcamp.com | gravemonolith.com | facebook.com/GraveMonolith
Releases Worldwide: October 30th, 2026

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