Published: September 21, 2020

Belgium-based melodic death/doom metal quintet Marche Funèbre have generally stuck to their guns throughout their (so far) twelve year run though it was ‘In the Arms of Darkness’ (2017) that found them meeting the higher standard of the niche without having to experiment too far outside the box. At the time it’d been vocalist Arne Vandenhoeck‘s time to really shine in terms of presenting both harsh and melodic vocals with some considerable skill applied to each. For its follow-up ‘Einderlicht’ that spotlight hasn’t moved with any urgency as the band continue to modernize their melodic interest with post-rock influence without losing the depressive rock edged ‘clean’ sound that’d made the previous record special. The emphasis is more or less doubled therein where Vandenhoeck might flit between Sólstafir-esque cinematics or pull everything back to the epic heavy/doom metal influence of early Peaceville three bands. This also translates into the usual songwriting modus of the group where songs generally range between seven and twelve minutes in length as they develop fairly involved compositions with plenty of breathing room.

There is the sense that Marche Funèbre are on the path of a band like November’s Doom, taking some influence from alternative (or, modern) rock for structure and approachable hooks. They’re not quite there yet in terms of pure magick but ‘Einderlicht’ manages some curious hooks or memorable enough moments within the majority of these extensive songs that they’re each worth returning to, even if a riff or two feels a bit bluntly stated or, pointless in the greater narrative of the song, they will generally resolve in meaningful ways. “The Eye of the End” certainly offers the most challenge in this regard, spiraling out like an early My Dying Bride piece and losing its core lead progression for the sake of a chugging riff. This riff actually circles back around in a very effective way that ends up being one of the few moments where something so simple expresses as movement and sublime harmonization of forms. There are cloying moments, some strange off-kilter vocal moments, and various charming quirks that come with the band’s sensibilities but the full listen is unsurprisingly an easy spin that communicates its dire, dirging spirit with some earnest quality to it.