Artwork by: Anaïs Chareyre-Méjan

Style: Post-Metal, Blackgaze, Black Metal (Mixed Vocals)
Recommended for fans of: Primordial, Trees of Eternity, Myrkur
Country: United Kingdom
Release date: 20 February 2026

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Post-rock/metal is often synonymous with patience; bands like We Lost the Sea and If These Trees Could Talk do not operate in the realms of instant gratification, but rather one of sublime mood and—when executed properly—devastating crescendos that can level a city. Black metal, by turns, is as instant as it gets: fierce tremolos and relentless blast beats scour the listener like frigid arctic winds, flaying mortal flesh to reveal the contemptible soul beneath. One would assume they’d fit together no better than the proverbial square peg in the triangular hole. Yet despite these differences, there can be found measures of commonality, most notably in their capacity to tap into a feeling of the natural world; black metal paints pictures of wintry forests, while post-metal’s introspective heft readily conjures images of post-civilization worlds, wherein mankind’s hubristic grip upon the Earth has been sundered.

Domhain arrive at this particular crossroads with debut LP In Perfect Stillness, seeking a winning fusion of post-metal’s towering superego to black metal’s nihilistic id erected through thoughtful, large-scale songcraft and primal, forward-moving compositions. With EP Nimue and the Of Pine and Oak split (with label mates Ephemeral) under their belts, Domhain have tested the footpaths of this genre mishmash before. However, there is no crucible quite like the first album to truly break in the boots. Does In Perfect Stillness give rise to a perfect listen, or has this young act gotten lost in the woods?

While “perfect” may serve a more hyperbolic context, I would not hesitate to say that In Perfect Stillness represents a band comfortable in their sound and confident in the execution of their vision. Songs are traversed with the wisdom of a seasoned hiker, divested of the skittish caution and reckless adventurousness expected of a first-timer. Guitarist Nathan Irvine packs a veritable trail mix of salty tremolos and sweet post-metal chords, while drummer Anaïs Chareyre-Méjan marks the footpath with weighted snare work and a forward momentum that, while rarely hurried, refuses to let the group linger too long. The trees rustle and sway against vocalist Andy Ennis’ hypnotic cleans, coming through in sonorous invocations on tracks like “My Tomb Beneath the Tide”, while his razored harshes cut like icy waters across the compositions, a shock of black metal primalism to freshen up the largely serene post-metal compositions. And, while Bryn Mills’ bass can feel lost in the rearguard, his presence is nevertheless felt in ways subtle and systemic, not unlike the invisible pulse of the natural world beneath our feet.

“Talahm Lom”, the first proper track after the minimalist cello-led opener “Una Tarra Ci Hé“, wastes little time providing evidence of Domhain’s craftsmanship. Truthfully, any of the four main tracks could easily stand as a proper induction into the mythic naturalism that, despite sounding like made-up nonsense, so appropriately conveys the experience of listening to In Perfect Stillness. Whether the melancholic treading of “Footsteps II” with its harrowing stringwork and pensive vocalizing, or the raw aggression of “In Perfect Stillness”, there exists an inescapable feeling of communion with a world far more grand, harmonious, and resolute than any civilization mankind could ever build. The band deepen this connection with moving vocal harmonies from Ennis, Mills, and Chareyre-Méjan, each complementing the other and standing in unison with the work as opposed to fighting for some spotlight moment. Sarah Wieghell (Darkest Era, ex-Nemesis) lends her voice on closer “My Tomb Beneath the Tide”, and while difficult to pinpoint which vocal is hers, therein lies the point. The natural world is one rooted in harmony, a self-sustaining ecosystem of invisible cooperation, which Domhain succeeds in channeling across the thirty-five sublime minutes of In Perfect Stillness.

What’s more, Domhain signpost their post-metal/blackgaze fusion with admirably organic trailwork, the styles flowing into one another like streams converging down a mountainside, carrying the stones of both to gather along their shared banks. Even tracks like “Footsteps II” or “In Perfect Stillness”, more immediately defined by their constituent parts, eventually merge to create beautifully holistic soundscapes—the forest for the trees, as it were. Irvine’s post-metal contemplations and savage tremolos are weighted nicely against Chareyre-Méjan’s percussive guidance, and their interplay goes a long way towards securing Domhain’s success at this winsome sonic merger.

When setting out on a hike, whether blazed or off the beaten path, one must never underestimate the necessity of a sure-footed leader, one who knows when to call for rest, where to cross and when, and how to pace things out. Exhaustion, heatstroke, and dehydration are known killers in the wild, but boredom can be just as lethal when it comes to cutting a trek short. Domhain’s overall output favors the sightseer over the marathon runner, but they manage to keep the scenery interesting while avoiding the scree paths one is wont to slide down within post- and black metal—that is, introspective meandering or nihilistic ferocity. Simply put, In Perfect Stillness is a fluid, enchanting piece of work, and a path well worth walking.

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Recommended tracks: Footsteps II, In Perfect Stillness, My Tomb Beneath the Tide
You may also like: Church of the Sea, Saor, Nailed to Obscurity, Darkest Era
Final verdict: 8/10

Related links: Bandcamp | Facebook | Instagram

Label: These Hands Melt Records

Domhain is:
– Andy Ennis (bass, vocals)
– Anaïs Chareyre-Méjan (cello, drums, vocals)
– Nathan Irvine (lead guitar)
– Bryn Mills (guitars, backing vocals)
With guests:
– Raul Andueza (cello on “Footsteps II”)
– Sarah Wieghell (vocals on “My Tomb Beneath the Tide”)