Around these parts, “MMJ” often stands for My Morning Jacket. Around other parts, “MMJ” might stand for medical marijuana. Now, “MMJ” stands for a new thing: The solo project of Megan James, one half of the electro-pop duo Purity Ring. James initially announced the new endeavor last month, revealing she’d signed to Captured Tracks and…
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Posted on May 13th 2026, 4:55p.m.
Delivering a five-song set.
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(written by Islander) Today we help introduce the death-metal-addicted among you to a formidable new force — a New Zealand trio named Fournier, whose self-titled debut EP will be released next month by the also formidable Caligari Records. We’re told that Fournier were inspired not only by pioneers such as Morbid Angel, Immolation, and Timeghoul […]
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Draconian is an institution. Since Where Lovers Mourn dropped 23 years ago, the Swedish death doom sextet upheld an unflappable standard of quality across seven records, marking a legendary discography matched by precious few. Everyone has their favorite out of those seven tomes, but it’s fairly uncommon to find a shared preference. This not only speaks to the diversity of Draconian’s sound despite their tried and true template, but also to the reliable nature of their compositions, capable of striking at the heart of anyone who might encounter them. I, just as susceptible to Draconian’s hooded charm, miraculously came into possession of their eighth outing, In Somnolent Ruin, albeit quite late. However, it took no time whatsoever to recognize that it was special.
As if in celebration of their reunion with original siren Lisa Johansson, Draconian amplified both the beautiful and the beastly sides of their trademark sound for In Somnolent Ruin. Heavy as Arcane Rain Fell and A Rose for the Apocalypse (“The Monochrome Blade”) and delicate as Sovran and Under a Godless Veil (“Lethe”), In Somnolent Ruin trudges inexorably through an unknowable pall with desperate fury and earnest sorrow. A dichotomy of intensity and grace embodies this hour-long funereal march, gloom and mist gently grazing the skin as the earth churns underfoot and a clouded sky thunders above. The emotions conjured through Draconian’s gothic spell, deep ripples that oscillate between tension and release in overwhelming concentrations, black out my vision and light up my synapses. This is what Draconian is known for, and what they do so well they’ve rarely done better than on In Somnolent Ruin.
Whereas Draconian routinely succeeds in songwriting across all of their records, In Somnolent Ruin blossoms primarily because of the striking performances it houses. Lisa and Anders Jacobsson shine here, each pouring every fiber of their being into their vocals (“The Monochrome Blade,” “The Face of God,” “Cold Heavens”). Anders sounds particularly venomous, his serrated growls and screaming rasps curdling my blood and melting my bones with every utterance (“I Gave You Wings”). Lisa belts like never before, showcasing a range and power I didn’t realize she possessed (“Cold Heavens”). Not to be outclassed, guitarists Johan Ericson and Niklas Nord shove thunderous riffs against each other and in concert with only the most bleeding-heart lead melodies (“I Welcome Thy Arrow,” “Misanthrope River”), creating a wonderful miasma of textures and tones that swirl with the deadly grace of smoke. Drummer Daniel Johansson and Bassist Daniel Arvidsson form a formidable rhythm section to bolster In Somnolent Ruin with great heft and shrewd patterns. Daniel Johansson in particular impresses with beats and fills that almost refuse to mimic Niklas’ riffs, instead forging his own path weaving in and out of the spaces between guitars and vocals with powerful muscularity. Working as a finely tuned machine, Draconian’s performance on In Somnolent Ruin is a rare coalescence that elevates every crest and crescendo beyond greatness.
That greatness nonetheless extends to songwriting, as In Somnolent Ruin showcases some of Draconian’s coolest pieces in their discography. With no fewer than four contenders for my Songs o’ the Year playlist (“The Monochrome Blade,” “The Face of God,” “I Gave You Wings,” “Cold Heavens”), the impact of these nine songs, both isolated from and integrated with the whole, leaves nothing but dust and rubble at my feet. Emotionally devastating, richly detailed, and imposing in stature, only one word approaches adequacy when intimating my impressions: majestic. Towering arcs that connect poignant storytelling to heartfelt expressiveness personify In Somnolent Ruin’s transition from the riff-laden challenge “I Welcome Thy Arrow” to the bitter death of “Lethe.” As I traverse that arc, marvelous transitions guide my way through twists and gnarls as beautiful in form as they are lethal to the touch. Draconian created something familiar enough to caress and comfort but surprising in its vitality and charisma, such that each fresh spin feels as compelling and impactful as the first.
I’m left astounded, alone in a clearing of brush and fog. So few discographies boast such reliable and recognizable greatness, but even fewer offer late-stage monoliths of this scale. To critique small nitpicks like the relative innocuousness of interlude “Asteria Beneath the Tranquil Sea” or the slightly less impressive “Anima” feels disingenuous—as if to do so is merely to make up for a perceived neglect of my responsibility to evaluation. Yet even accounting for this internal debate, In Somnolent Ruin is a rare triumph. A love letter to Draconian’s storied past and a celebration of their modern era, refined to staggering excellence.
Rating: Excellent!
DR: Buried Under 6 Feet of Bandwidth | Format Reviewed: Misanthrope Stream
Label: Napalm Records
Websites: Bandcamp | Official | Facebook
Releases Worldwide: May 8th, 2026
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You may know Sari Lightman from a pair of bands with her twin sister Romy, the psychedelic rock, pop, and folk projects Tasseomancy and Lightman & Lightman. Today she’s announcing her solo debut. Out next month, The Way I Saw You is produced by Hand Habits’ Meg Duffy, who previously contributed to the 2024 Lightman…
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