{"id":654877,"date":"2026-03-14T10:44:25","date_gmt":"2026-03-14T10:44:25","guid":{"rendered":"https:\/\/www.europesays.com\/us\/654877\/"},"modified":"2026-03-14T10:44:25","modified_gmt":"2026-03-14T10:44:25","slug":"in-ruins-we-are-all-to-perish-review","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/us\/654877\/","title":{"rendered":"In Ruins – We Are All to Perish Review"},"content":{"rendered":"

\"\"I think most people who meet me, either online or in meatspace, would not imagine I enjoy a genre like funeral doom. Yet, it is one of my favorites. Acts like Eye of Solitude<\/strong><\/a>, Convocation<\/strong><\/a>, Slow<\/strong><\/a>, Un<\/strong><\/a>, and Ahab<\/strong><\/a> rank among my top choices for the space, and Romania\u2019s In Ruins<\/strong><\/strong> caught my ear by treading a similar path. A duo established in 2021, with mastermind Urmuz previously engaged with a spectrum of black metal, grindcore, and death\/doom acts, In Ruins<\/strong><\/strong> prepared a tight 42-minute opus as their opening salvo into fundoom territory. We Are All to Perish, but will we remember the journey that In Ruins<\/strong><\/strong> led to that final destination?<\/p>\n

With some funeral doom records, you get catharsis in the form of a few well-placed outbursts of violence interspersed between large swaths of misery. This is the philosophy Eye of Solitude<\/strong> and Convocation<\/strong> often adopt. Other applications of the style prioritize moods and crushing sorrow delivered at a dirge, a uniformly funereal pace that hypnotizes as much as it depresses. Enter the eulogies of Slow<\/strong> and Un<\/strong>. In Ruins<\/strong><\/strong> embraces the latter methodology, lumbering as a husk emptied of light and of will. It is a deeply affecting emotional foundation upon which to build, and In Ruins<\/strong><\/strong> build upon it well. Riffs crush and linger, simple and thunderous, but here they are not the hero element. Melody and atmosphere take a higher rank, though they too dilute into a more simplified, pure state that maximizes potency while stripping away musical complexity. It is entrancing as only funeral doom records can be, and its smart writing boasts all of the natural components for a successful procession.<\/p>\n

In Ruins<\/strong><\/strong> \u2013 We Are All to Perish | MMR069 by In Ruins<\/strong><\/strong><\/a><\/p>\n

A common element that distinguishes good and great funeral doom records from inferior specimens is a showstopper track. Slow<\/strong> famously invites comparison here with their incredible \u201cIncendiare,\u201d Eye of Solitude<\/strong> with \u201cAct II: Where the Descent Began,\u201d Convocation<\/strong> with \u201cAtychiphobia,\u201d Woebegone Obscured<\/strong><\/a> with \u201cDr\u00f8mmefald.\u201d In Ruins<\/strong><\/strong> achieves it with closer \u201cFarewell,\u201d and does so in the most deceptively simple way. By launching the track with excellent SWANA-inspired melisma, and reinforcing those deep vocalizations later against mournful bells, In Ruins<\/strong><\/strong> makes an indelible mark on my fundoom rotation. It\u2019s slow and plodding through its first act, enacting yet another favorite motif: the two-chord riff (see Slow<\/strong>\u2019s \u201cLueur\u201d for a stellar example of this tactic). In its second, a weeping melody, isolated against droning choral synths and Frayle<\/strong><\/a>-esque backing siren song until the album\u2019s dying rattle. It is breathtaking and morose in equal measure, but more than that, it inspires repeat spins for the express purpose of experiencing the excursion that led to this climax with greater anticipation and attention.<\/p>\n

\"\"<\/p>\n

This, in turn, invigorates and contextualizes the songwriting of the preceding three tracks. At first, they go through all the right motions of a proper funeral doom experience, but without a strong sense of memorability to leave a lasting impression. But after the first spin, I noticed the clarity of \u201cI\u2019m Tired of Living in My Land\u201d offered by its candid, unpretentious lyrics. I understood the emptiness and the apathy that colors \u201cI Do Not Regret and I Do Not Shed Tears\u201d in a monochrome, dull gray. Compositional foreshadowing felt more meaningful when \u201cWe\u2019ll Depart This World for Ever, Surely\u201d sets me up for \u201cFarewell\u201d once more. In this way, In Ruins<\/strong><\/strong> crafted a record that requires repeat spins to fully appreciate, forging a double edged sword. On one side, each of the first three songs on their own still lacks the same power of the closer despite gaining substance with time. On the other hand, treated as a single unit, We Are All to Perish is a wholly successful and worthy entry into the pantheon of funeral doom.<\/p>\n

As a competitor to the standout entities of the funeral field, In Ruins<\/strong><\/strong> stake a viable claim with We Are All to Perish. To push further into that space and stand out, they\u2019ll need to make each and every track\u2014especially if there are as few as four, like so here\u2014unforgettable in some meaningful way. \u201cFarewell\u201d is a great song, and features elements and ideas that, if capitalized on in future records, might guarantee In Ruins<\/strong><\/strong> a wider audience and greater acclaim. Until then, rest easy knowing that while We Are All to Perish, we can at least enjoy the path that leads to the end.<\/p>\n

Rating:<\/strong> Good!
DR:<\/strong> 7 | Format Reviewed:<\/strong> 320 kb\/s mp3
Label:<\/strong> Meuse Music Records<\/a>
Websites:<\/strong> inruins13.bandcamp.com<\/a> | facebook.com\/InRuins.ro<\/a>
Releases Worldwide:<\/strong> March 13th, 2026<\/p>\n

\n\tGive in to Your Anger:<\/p>\n","protected":false},"excerpt":{"rendered":"I think most people who meet me, either online or in meatspace, would not imagine I enjoy a…\n","protected":false},"author":3,"featured_media":654878,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[29],"tags":[12086,55679,277659,277660,63701,66954,171,277661,277662,194121,277663,270528,265788,975,2290,11853,254461,53529,31689,67,132,68,277664,265791],"class_list":["post-654877","post","type-post","status-publish","format-standard","has-post-thumbnail","category-music","tag-12086","tag-3-0","tag-ahab","tag-convocation","tag-death-doom","tag-doom-metal","tag-entertainment","tag-eye-of-solitude","tag-frayle","tag-funeral-doom","tag-in-ruins","tag-mar26","tag-meuse-music-records","tag-music","tag-review","tag-reviews","tag-romanian-metal","tag-slow","tag-un","tag-united-states","tag-unitedstates","tag-us","tag-we-are-all-to-perish","tag-woebegone-obscured"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/116227124350621956","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/654877","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=654877"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/654877\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/654878"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=654877"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=654877"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=654877"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}