Ewig.Endlich – Im November (Review)

When it comes to browsing new music, I have always been a highly visual type of person. I’m not saying that it is all about the artwork, but a luring cover often pushes me into attention way quicker than “the regular stuff.” When I first encountered the artwork of Im November by German Metal combo Ewig.Endlich, I knew there will be a sound that is going to be difficult to pin down. This hand-painted picture radiates quite some statements from first glance already. Occasional spots of light submerged in dark main theme initially conveys the impression of an intensely calm situation. Only when going further into detail, the light spots in this painting broadcast an imagery that transports movement exactly at the spots of light that mark positions of human presence. What to expect from that – I didn’t know but I assumed it was going to be good. And I was certainly not disappointed.

Having surfaced with their first demo in 2016, Dortmund-based Post(-ish)-Metal band Ewig.Endlich first appeared on the radar. When I first encountered their music (again via browsing for Lower Rhine Underground – surprise) it was their 2018 release “Auf Grund” that already received quite some praise back then and caught my attention. Having asked for permission to upload this release to the LRU channel, it only took a little while until the release of their latest output Im November, which is why it was also this release that immediately found its way onto the channel.

What can I say – this is a wild mixture of genres that probably can walk by the term of Post-Metal, but there is way more than that happening on this entire release. There is a little something of everything happening all over the place. If possible, you could also call this by the name of Extreme Metal, but this would probably cut off the clean Post-Metal sequences. As you might guess, there are quite a lot of different genres that are mixed. The first track track “Mosaik” alone already displays the versatility of Ewig.Endlich. Kicking in with a sound that might immediately bring in the notion of straight-up Black Metal, the transfer into the vocals already blends this tone with vocals that construct a sound that interconnects Black Metal with what I used to call “Sad Punk” in the vein of Kaput Krauts. Don’t get me wrong, the vein of the Black Metal tone generally dominates, but there is a subtle impression of the aforementioned Punk that also goes togeher with the lyrical themes of societal progression of the protagonist on this album. When eventually also hitting the sequences that are delivered with growling vocals, it even feels as if we transferred right into a more melodic early Amon Amarth track. On “Mosaik,” the listener can get the full scope of this album already.

Further on, though, Ewig.Endlich are very keen to prove that they are capable of intertwining way more different genres than on this first track alone. Especially this natural connection between sounds that you would not imagine to get along together (you could call it the Ordinary Corrupt Human Love effect) is something that this combo seems to be at ease with. On the second track “Risse,” especially the melodic framework that points at the Post-Metal notion introduces. Continuing the sound of the riff on “Mosaik” in clean and Post-Metal-esque tone, a brief yet beautiful introduction progresses towards a sound that would probably rather be associated with Death Metal – if even possible. The Post-Metal tone omnipresently recurs on different tracks on the album, partly culminating with the warm and ambient tone that is accompanied by clean vocals on “Schutt.” So we’re talking about a range that moves somewhere between Post-Metal, Death Metal and Black Metal with nuances of Punk and everything is puzzled together in order to coin a sound that can be considered quite unique.

Lyrically speaking, the album follows a protagonist that initially feels detached from societal constraints in urban life because of their alienation. On further progression, while restlessly wandering and experiencing repulsion, the protagonist enacts by force of being weary of life only to eventually almost detach from life. When beinv overwhelmed by the blank will to survive, the pursuit of belonging progresses towards a more abstract state and also connects with urban life. If you are in favor with lyrics that follow a more detailled pattern, I can highly recommend to dive a little deeper into this album because it is absolutely worth it. Especially the language that narrates this progression feels incredibly heart-warming. These lyrics together with the artwork of this album delivers quite the full package of dedication and is a must-listen if you love to get into records that will need more than just sonical attention in order to fully grasp the environment of its sound.

As was probably clear from the introductory paragraph highly favoring the artwork of this release already, I also have to mention that every single track of this album received a different painting by band member Simon Albers, which is the kind of dedication that absolutely grasps my attention. By doing so, Im November gains a strongly unique character. The music was recorded by Mario Dahmen at Liquid Aether Audio, who was capable to filter the specific tone that moves in between these numerous genres. This album was released on black 12″ vinyl by Horror Business Records.

Once again, I am incredibly late to the game writing about this release in 2026 while it was released in October 2025. Nevertheless, it’s always better to dive deeper into releases at least somewhen instead of never at all. I have to admit that I did not know a lot of local Post-Metal bands and I’m always glad to see bands from nearby playing musical styles that are not entirely overfed these days. This is why I enjoyed Im November quite a lot. Anytime there is music that moves in between different musical spheres but never fully claims one of these, I’m all in for that. Ewig.Endlich are certainly capable of doing just that.