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 … Read more