(Austin Weber brings us his review of the new album by the Boston-based ensemble Ehnahre, as well as the premiere of a full stream of this fascinating new record.)
Ehnahre are one of the most interesting groups in metal, a lot of which is due to how much their music draws so liberally from outside of metal, specifically from classical music, chamber music, jazz, film score music, avant-garde, improv, and beyond, with all of this married to a love for all things experimental and harsh, wrapped inside a doom metal, death metal, and sometimes black metal influenced framework.
They’re a rare group, one whose sound is amorphous and ever-shifting from release to release and from song to song, delivered with a scope and love for long-form compositions that ends up making their music feel like it’s a world all its own. For those new to Ehnahre, both current and former members have spent time playing in fellow avant-garde metal experimentalists Kayo Dot if you need further evidence that this project is worth paying attention to.
I’ve been following the project for many years now, and finally got around to covering them here at NCS starting in 2016 when we helped Ehnahre do an exclusive early stream of their sprawling double album, Douve. That was followed by a second 2016 release in the form of an EP called Nothing and Nothingness, that I also made sure to cover here at NCS. So I’m happy to continue supporting them here with an early stream of their new album, The Marrow.