Album Review: Forever Autumn – The Lamentations (Self Released)

Avant-Garde, doom/folk act, Forever Autumn return with a brand new album titled The Lamentations due for independent release on the 3rd of January, 2026.

Forever Autumn is a long-running US avant-garde doom and pagan folk project founded in 2000 by multi-instrumentalist and composer Autumn Ni Dubhghaill in the Berkshires of Massachusetts. Blending acoustic doom metal with dark folk, ritualistic atmospheres, and experimental textures, the project occupies a space where ancient traditions meet stark, emotive heaviness. Forever Autumn is driven by Ni Dubhghaill’s distinctive approach to song writing and instrumentation—drawing on guitars, cello, traditional percussion, and unconventional folk instruments—often complemented by haunting vocal styles that range from melodic to raw and incantatory.

Over the years, the project has evolved through numerous releases and collaborations, including guest appearances from notable figures in the doom metal scene, establishing Forever Autumn as a unique and deeply immersive presence within the underground doom and folk metal landscape. Mixed by Robby Baier and mastered by Jack Control (Darkthrone, Inculter, Ice War etc) – the same team that added the final touches of sonic sorcery to Forever Autumn’s last release, the Crowned In Skulls EP – The Lamentations reverberates with life and possesses a sound rich in texture and deep, deep depths. Adorned in artwork painted by Autumn Ni Dubhghaill, from her Self-Portrait In Winter collection.

Beneath the fallen leaves and in the dance of the naked flame, in the shifting shapes of clouds and in the birdsong and the silence that surrounds it, there lies the pathway back to the essence of all we have been. On the edge of shadows and below the stars, in the stories that are spoken, now and forever, in the dreams that the devices and distractions of a sterile life blow away from our waking minds with nervous breath, there is truth that cannot be twisted and remade. There is substance and value; there is meaning and matter if we choose not to be led away – if we choose to see the passage of the sun, to hear the celebrations of the spring and the lamentations of the winter night.

Forever Autumn have, on previous releases, collaborated with artists such as cellist Jon McGrath and vocalist Aaron Stainthorpe of My Dying Bride/High Parasite. Here, though, they walk a solitary path, writing, performing, recording and producing alone, and delivering seven brand new tracks on The Lamentations. We get underway with Beltaine, a soft and subtle song that features a hypnotising acoustic melody coupled with a cello—or possibly a violin. The vocals are soft and enchanting, forming a hugely atmospheric introduction that conjures visions of sitting around a fire in the woods while Forever Autumn play on the other side of the flames. Harsher vocals back moments where tapping drum sounds and a more feverish melody take over, but everything remains within the same acoustic and immersive soundscape. It is very interesting and, more importantly, very moving.

Self-Portrait In Blue, Black And Grey is next up on The Lamentations and continues to mesmerise through its subtlety, its simple but infectious melody, and softened singing. The atmosphere remains poignant and you genuinely feel transported to a different age. The simplicity of the music takes a little getting used to, especially in modern times where ‘more’ often seems to be the preferred approach. More instruments, more genre blending, just more. Forever Autumn instead deliver the opposite, offering something stripped back, raw and focused.

Hexes and Wards brings the string instruments back into play, coupling them with a meandering acoustic guitar melody, but this time featuring vocals in a black metal style over the acoustic foundations. It conjures visions of ancient beings, powerful and present. Musically, it really stands out as something entirely different for me, and it takes a little synchronising, but I am hugely impressed by how captivating it feels, how well Autumn has constructed the songs, and how clearly the atmosphere and imagery come through. We move on to Fylgia And The Fetch, a song that manages to feel intense and threatening without ever needing to turn the electric on or raise the volume.

The tapping drum sounds add an extra layer of depth, while the quick picking on the instruments is both disconcerting and strangely heavy. The vocals remain in that raw, screamed black metal style over acoustic foundations. It is a haunting song, with some genuinely intense musical sections, which I find quite astounding given that we are firmly in the realm of acoustics and blackened folk. It is testament to the quality of the song writing and instrumentation that Forever Autumn are able to capture such intensity and atmosphere here.

Speaking of atmosphere, Epoch then ups the ante considerably with a clever track that acts as something of an interlude, at least in that it is relatively short. Musically it is simple, featuring no instrumentation beyond a tapping drum sound that feels like fingers tapping the face of a guitar. Over this beat we get a spoken and whispered passage that keeps you firmly in the forest, maintains the hypnotic feel of The Lamentations, and perfectly carries the album forwards like a flowing stream.

The penultimate track on The Lamentations is The Black Candle. By this point I am firmly in sync with the album’s approach, able to simply enjoy the music and be lost in the world without constantly being surprised. Here we get more of those hypnotic, meandering melodies, but in a song that feels wistful and thoughtful. It is sung cleanly and clearly, making it easy to follow the lyrics and fully grasp the story being told. It is atmospheric, of course, but also deeply engaging, leading us neatly towards the end of the night as the fire’s embers die down and The Salt of Mortality begins.

The closing track reflects on the dying of the year and ponderings on futures, which feels particularly fitting given the time of year The Lamentations appears. I feel like I am repeating myself, but once again the music creates a superb sense of atmosphere through the gentle use of string instruments, a meandering and wistful guitar melody, and haunting, softened vocals. It is very listenable, very engaging, and very hypnotic. At nearly nine minutes long it passes quickly, never feeling repetitive despite the limited instrumentation. An elevating cello or violin line accents the second verse, subtle vocal variations emerge, and an evolving guitar melody keeps you fully invested from the first note to the last. As the song fades out, you see the image of a dying fire lingering, leaving you sitting in silence for a moment, half-expecting to awaken from a dream.

The Lamentations is a seriously clever and immaculately crafted album that has left me very impressed. It showcases immense talent within Forever Autumn, particularly in their ability to write engaging and honest songs. The album flows wonderfully, remains fully captivating throughout, and is supremely atmospheric. It is different, combining pagan, folk, rock, blackened folk and more within a fully acoustic framework, and my simple mind took a little time to sync with it. But I did get there, and thoroughly enjoyed the journey, thinking there is no better soundtrack for these winter nights than what I have just experienced.

Track Listing:

1 – Beltaine
2 – Self-Portrait In Blue, Black And Grey
3 – Hexes And Wards
4 – Fylgia And The Fetch
5 – Epoch
6 – The Black Candle
7 – The Salt of Mortality

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