ALBUM REVIEW: Tempelschlaf – The Ruins Of Beverast
Alexander von Meilenwald has been performing under the moniker of THE RUINS OF BEVERAST for over twenty years now, and the atmospheric, doom-laden black metal that he has crafted over that time has been heralded the world over, its forlorn outlook on the world inspired by the very event that gave rise to the band’s name: the destruction of Bifröst, the bridge in Norse mythology that connects Earth to the realm of the Gods and foretold to happen during the events of Ragnarök. Continuing to go from strength to strength, 2026 marks the release of THE RUINS OF BEVERAST‘s seventh album Tempelschlaf via Ván Records on Friday, January 9th.
There’s something amusing in the fact that while Tempelschlaf has been created with a live setting in mind – which meant a focus on shorter, more stripped back songs – the album still runs at just under an hour in length and yes, it is THE RUINS OF BEVERAST‘s briefest, but only by six minutes. However, the potency and world that Von Meilenwald has painted remains as dark and vivid as ever. It opens with the sprawling, nine-and-a-half minute title track, which flows from TYPE O vocals and rhythmic drums to backing keyboards and clean, melodic guitars at a methodical pace, but one that continues to hold your attention. Business picks up on Day Of The Proacher, a stompier number with more of a black metal flair that takes from the cleaner feel of BEHEMOTH than the icier tones of DARKTHRONE; Von Meilanwald‘s gutturals are as fierce as ever to boot.
Curiously, though, when THE RUINS OF BEVERAST decide to bring their two main elements together on Tempelschlaf, it’s rather hit and miss. The more positive moments come in the likes of Alpha Fluids and Babel, You Scarlet Queen, where the black metal takes on a more prominent role than the doom, but the tonal and vocal shifts work in the band’s favour, which may have something to do with said changes happening towards the end of both tracks. It’s a different story on Cathedral Of Bleeding Statues and Last Theatre Of The Sea, however, where the styles segue from black to doom in the middle and back at the end; it just doesn’t have the same impact and, perhaps more glaringly in the latter, actually starts to drag and lose a hold on the listeners attention. Thankfully, the album ends on a high – thirteen minute closer The Carrion Cacoon is balanced well, never sounding pedestrian despite its slower tempo and a shimmering example of good, progressive black metal.
Tempelschalf certainly has some high moments despite its missteps, and there’s no question that Von Meilenwald has plenty left to draw on from his creative well, but when you take into account the disparities between the quality in the songs, you’re left scratching your head at the end wondering what the hell happened at points.
Rating: 6/10
Tempelschalf is out now via Ván Records.
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