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Solitude Aeturnus β€” Downfall

  • intothewellsabyss
  • Jul 29, 2023
  • 2 min read

π…π‘πŽπŒ 𝐓𝐇𝐄 π‚π‘π˜ππ“π’ - π‚π„π‹π„ππ‘π€π“πˆππ† 𝐏𝐀𝐒𝐓 π€π‹ππ”πŒ 𝐑𝐄𝐋𝐄𝐀𝐒𝐄𝐒 𝐒𝐧 𝐭𝐑𝐞 π‡πˆπ’π“πŽπ‘π˜ 𝐨𝐟  𝐇𝐀𝐑𝐃 π‘πŽπ‚πŠ & π‡π„π€π•π˜ πŒπ„π“π€π‹β€¦



July 29, 1996 β€” Solitude Aeturnus released their fourth full-length studio album, Downfall via Pavement Music. (Apple Music or Spotify)



The intro to the song Midnight Dreams is an excerpt from the 1941 classical horror movie The Wolfman.



Background:

Following Solitude Aeturnus’ extensive US tour with Mercyful Fate and the bands first tour of Europe with fellow Doom Metallers Revelation, the band went through a long break that would last until April 1996 when they (Solitude) entered Regal Studios in Dallas, Texas to commence the recording of their follow-up to the bands critically acclaimed album, Through the Darkest Hour. Solitude Aeturnus’ fourth studio album, Downfall was released to critical acclaim and despite receiving praise once again for their efforts, the band were extremely dissatisfied with the end product. The songs were top notch but Solitude felt that the production quality of the album was poor.



After years of hard knocks and never ending struggles the band underwent their first (and only) major line up change. Lyle Steadham left the band shortly after the recording of Downfall. Primarily because he was tired of the group's sound (he eventually formed the Punk band the Killkreeps). The band continued on, enlisting the services of Teri Pritchard as temporary bassist. It was this line up that toured Europe in 1996 with Swedish Power Metal band Morgana Lafey.


(π™°πš•πš‹πšžπš– πšŠπš›πš πšπš˜πš› π™ΆπšŽπš›πš–πšŠπš— πš›πšŽπš•πšŽπšŠπšœπšŽ)


Critical Reception:

As previously noted, Downfall was released to critical praise. Upon the albums re-issue in 2002, AllMusic’s Brian O'Neill criticized the lack of any bonus material, yet praised the album, stating;

β€œπ™Ύπš›πš’πšπš’πš—πšŠπš•πš•πš’ πš›πšŽπš•πšŽπšŠπšœπšŽπš πš’πš— 𝟷𝟿𝟿𝟼 πš˜πš— π™ΏπšŠπšŸπšŽπš–πšŽπš—πš πšπšŽπšŒπš˜πš›πšπšœ, π™³πš˜πš πš—πšπšŠπš•πš• 𝚠𝚊𝚜 πš›πšŽπš’πšœπšœπšžπšŽπš πš‹πš’ π™²πš›πšŠπšœπš‘ π™Όπšžπšœπš’πšŒ πš’πš— 𝟸𝟢𝟢𝟸. πš„πš—πšπš˜πš›πšπšžπš—πšŠπšπšŽπš•πš’, πšπš‘πšŽ πš›πšŽπš’πšœπšœπšžπšŽ πš•πšŠπšŒπš”πšœ πš–πšŠπš—πš’ 𝚘𝚏 πšπš‘πšŽ πšŠπš–πšŽπš—πš’πšπš’πšŽπšœ πšπš‘πšŠπš πšžπšœπšžπšŠπš•πš•πš’ πšŠπšŒπšŒπš˜πš–πš™πšŠπš—πš’ πšœπšžπšŒπš‘ πš›πšŽπš•πšŽπšŠπšœπšŽπšœ, 𝚜𝚘 πšπš˜πš—β€˜πš πšŽπš‘πš™πšŽπšŒπš πšŠπš—πš’ πš‹πš˜πš—πšžπšœ 𝚌𝚞𝚝𝚜 πš˜πš› πšπš‘πšŽ πš•πš’πš”πšŽ. πšƒπš‘πšŽ πšπš˜πšžπš›πšπš‘ πšŠπš•πš‹πšžπš– 𝚜𝚎𝚎𝚜 πšπš‘πšŽ πšƒπšŽπš‘πšŠπšœ πšπš›πš˜πšžπš™πšŽ πšŽπš‘πš™πšŽπš›πš’πš–πšŽπš—πšπš’πš—πš 𝚊 πš‹πš’πš πš–πš˜πš›πšŽ πšπš›πš˜πš– πš’πšπšœ π™³πš˜πš˜πš– π™ΌπšŽπšπšŠπš• πš˜πš›πš’πšπš’πš—πšœ, πš‹πšžπš πš—πš˜πš 𝚜𝚘 πš–πšžπšŒπš‘ 𝚜𝚘 𝚊𝚜 𝚝𝚘 πšŠπš•πš’πšŽπš—πšŠπšπšŽ πš˜πš›πš’πšπš’πš—πšŠπš• πšπšŠπš—πšœ. π™³πšŽπšŠπšπš‘πš πš’πšœπš‘, 𝚊 πš›πšŽπš•πšŠπšπš’πšŸπšŽπš•πš’ πš‹πš˜πšžπš—πšŒπš’ πšπš›πšŠπšŒπš” πš™πš˜πš πšŽπš›πšŽπš πš‹πš’ 𝚊 πšπš›πšŽπšŠπš πš›πš’πšπš, π™΄πš•πš’πšœπš’πšžπš–, 𝚊 πšπš‘πš›πšŽπšŽ-πš–πš’πš—πšžπšπšŽ πšœπš™πš˜πš˜πš”πš’, 𝚎𝚏𝚏𝚎𝚌𝚝-π™»πšŠπšπšŽπš— πš–πš˜πš—πš˜πš•πš˜πšπšžπšŽ 𝚘𝚏 πšœπš˜πš›πšπšœ, πšŠπš—πš πšƒπš‘πšŽπšœπšŽ π™°πš›πšŽ πšπš‘πšŽ π™½πšŠπš–πšŽπš•πšŽπšœπšœ, 𝚊 πšπšŠπš•πš•πš˜πš™πš’πš—πš, πšœπšπš˜πš–πš™πš’πš—πš π™Ώπš˜πš πšŽπš› π™ΌπšŽπšπšŠπš• πš™πšŠπšŽπšŠπš—, πšŠπš›πšŽ πšπšŽπšŸπš’πšŠπšπš’πš˜πš—πšœ πšπš›πš˜πš– πšπš‘πšŽ πšœπš•πš˜πš , πšπš˜πšπš‘πš’πšŒ πšœπšπš’πš•πšŽ πšπš‘πšŽ πšπš›πš˜πšžπš™ πšŽπš‘πšŒπšŽπš•πšœ 𝚊𝚝. π™³πš˜πš πš—πšπšŠπš•πš• πš’πšœ πšπš‘πšŽ πš–πš˜πšœπš πšŒπš˜πš–πš™πš•πšŽπšπšŽ πšŠπš•πš‹πšžπš– πš‚πš˜πš•πš’πšπšžπšπšŽ π™°πšŽπšπšžπš›πš—πšžπšœ πš‘πšŠπšœ πš–πšŠπšπšŽ 𝚝𝚘 𝚍𝚊𝚝𝚎, πšŽπšŸπšŽπš— πš’πš πš™πšžπš›πš’πšœπšπšœ πš–πš’πšπš‘πš πš™πš›πšŽπšπšŽπš› πšπš‘πšŽ πš–πš˜πš›πšŽ πšœπšπš›πšŠπš’πšπš‘πš-πšŠπš‘πšŽπšŠπš, πšŽπšŠπš›πš•πš’πšŽπš› πšπš˜πšŠπšπš›πšžπš—πš—πšŽπš› πš–πšŠπšπšŽπš›πš’πšŠπš•.”

Key Tracks:

Phantoms

Only This (And Nothing More)

Midnight Dreams

These Are the Nameless

Chapel of Burning


(πš‚πšŸπšŠπš›πš πšπšŽπšŒπš˜πš›πšπšœ πš›πšŽπš’πšœπšœπšžπšŽ)


Notice: Any reviews shared here are for historical reference. The views and opinions expressed within are not always supported (in full or in part) by Into the Wells. β€” E.N. Wells



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