Ever since Douve came out, in 2016, I’ve held the Boston avant-garde doom metal quartet Ehnahre in the highest of regards. Earlier this month, they released their newest experimentation on The Marrow, a four-track, fifty-three-minute slab of slow, heavy, and unbridled contemporary music. Yes, Ehnahre swims pretty close to modern classical music with their compositional approach, a feeling reinforced by their use of contrabass and piano. The band’s long, drawn-out pieces are very atmospheric and even entrancing, often relying on slow, repeated motives and spoken word passages to build a ritualistic summoning of heartfelt and mystic music. The outstanding compositions on The Marrow go from the angry to the hopelessly desperate, and utterly rewarding as a listening experience. On top of that, Ehnahre is riding a somewhat tight release schedule, with their latest EP, Nothing and Nothingness, being released in Fall of last year, and their last full-length at the start of 2016. At this rate, we can merrily expect a release of sorts, probably an EP, next Spring. Until then, there is much to enjoy with The Marrow.