Ah, the end of a holiday always feels melancholic. Time suddenly feels so short. Looking at unread books at home reminds me that money can’t bring back the days when I had plenty of free time. Is this what people mean by *“suffer first, enjoy later”*? Will there really be a time to enjoy things later? I don’t think so.
So it’s only natural that today’s music rotation feels more emotional than usual—especially since it’s still morning. But will everything on this list be able to touch my heart the same way?
Let’s find out.
Abraham – Look, Here Comes the Dark! (2018)
Alphabetically speaking, Abraham returns once again with a conceptual album containing 19 songs divided into four acts—definitely longer than a typical sludge/post-metal release. So which one is better compared to Débris de mondes perdus?
From “I Ride the Last Sunrise” and “Invocation,” I can sense a Psychonaut-like aura. Instrumental interludes “To the Ground” and “All the Sacred Voices” mark the beginning of Acts II and IV, while “Sanctuaire” functions as a regular-song transition that may go unnoticed if you’re unaware. Essentially, Abraham aims to depict Earth’s transformation—from the collapse of human civilization into a barren planet overrun by fungi and moss, with the remnants of humanity leaving to seek another home.
Since it’s quite long, identifying the best tracks will take more time. So far, only two stand out the most: “I Ride the Last Sunrise” and “Rise, Goddess.”
Aeons of Ashes – The Wasteland Chronicles (2023)
Although listed as melodic death metal on Metal Archives, this conceptual album feels somewhat bland because the melodic elements aren’t very prominent. Only when “The Realisation” and the following tracks play do things start to make more sense. Still, no matter how many times I spin it, I don’t think I’ll end up liking it much—even with July Fellner providing female vocals.
So yeah, Aeons of Ashes might be worth trying for fans of vocal duets similar to Deadlock within a firmer melodic death metal framework.
Artificial Owls – Vespérales (Piano Suite) (2021)
Piano melodies in the morning?! Definitely emotional—like the soundtrack of a dramatic film—especially since I’m feeling heavy-hearted about leaving home.
Unfortunately, I still can’t distinguish between different piano tones and playing styles, so I’m not sure how to comment on the technical side. In short, Artificial Owls presents solo piano in a contemporary/modern classical style with relatively low output volume—but it will still make it into my favorite playlist. Maybe I just need to turn the volume up… or maybe it’s my earphones.
The Abyss Inside Us – What Words Can’t Say (2021)
The Abyss Inside Us. Unfortunately, I still haven’t found a truly captivating track from this Greek post-rock band, aside from something around the Aerialist era, if I remember correctly. Even though they use crescendo structures here, it’s hard to find the emotional core. Am I getting bored of this repetitive style? I don’t think entirely so. Maybe low volume is one factor why What Words Can’t Say hasn’t fully resonated with me.
After brief consideration, I might give “Stargaze,” “Parachute,” and “What Words Can’t Say” another chance.
Officium Triste – The Death of Gaia (2019)
An atmospheric death/doom metal album I discovered two years ago through the Transcending Obscurity label page. Three tracks already made it into my favorite playlist: “The End Is Nigh,” “Just Smoke and Mirrors,” and “Like a Flower in the Desert.” Only now do I notice the strong melodic feel in “World in Flames,” which even features the album title within its lyrics. “Shackles” also leans toward atmospheric funeral doom. The rest still hasn’t fully clicked with me.
Interestingly, The Death of Gaia feels stronger than Officium Triste’s latest album Hortus Venenum, though I’m still unsure whether their earlier works are on par, better, or worse.
Wounds of Recollection – I Found the Love That I Was Looking For (2025)
Wounds of Recollection still has several albums on my shelf, and somehow this one fits perfectly with my emotional state today. Maybe it’s simply because of the mood I’m in.
It really hits during “Everyone I Love Will Someday Die,” whose title feels painfully relevant to my final moments at home, followed by the interludes “Last Moments on Earth” and “Blue Bird on the Tarmac.” Next comes “Your Last Christmas,” which sadly passed by like a breeze since I was listening while doing laundry. But then my heart was struck again when “I Found the Love That I Was Looking For” played. How could this track appear at a time when I personally feel lonely and long to experience love? Now I’m feeling melancholic, you know!
Because of that, I Found the Love That I Was Looking For is clearly better than Warm Glow of the End of Everything and shows the band’s progress—even though its emotional pull only starts around the midpoint, and I initially thought this release came earlier.
Thank you so much, Wounds of Recollection!
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