The Eternal – Celestial (EP)
Release Date: 16th January 2026
Label: Reigning Phoenix Music
Order/Stream
Genre: Progressive Doom Metal, Gothic Metal.
FFO: Katatonia, Swallow the Sun, Anathema.
Review By: Trina Julian Edwards
Australian/Finnish dark progressive gothic metal band The Eternal return with their new EP, Celestial, the follow-up to their 2024 album Skinwalker. The EP drops Friday, January 16th, via Reigning Phoenix Music.
Featuring Mark Kelson on vocals/guitars and Richie Poate on guitars in Melbourne, with Niclas Etelävuori on bass (ex-Amorphis/Flat Earth) and Jan Rechberger on drums (Amorphis) in Helsinki, the band continues to evolve their doomy, proggy sound, delivering an experience full of dark, moody atmosphere and drama. The Eternal has actually been around since 2004, but Skinwalker was their first release after signing with Reigning Phoenix, which has led to a more international following. But how does Celestial measure up? Read on to find out.
Absence of Light is a gorgeous intro, setting a wistful tone with strings and other symphonic elements before transitioning to a more spirited, synthesized aesthetic with some brief outer space-y, otherworldly vocals. It moves the listener from an antiquated, gothic feel to a modern, proggy vibe, all the while keeping the same overall melancholy ambience.
The next track is a slow burner, but it’s worth the wait. The verses in Celestial are beautifully gloomy, but the chorus soars. The vocals sound both plaintive and desolate in turns. Beginning around 2:58, it takes a darker turn, bringing back the spacey, almost mechanical-sounding vocals we heard in the intro. They really build the intensity here, speeding up the tempo and introducing some lively, proggy synth elements. The guitars are impeccable in this track, and the tone and style of the solo perfectly complement the theme.
It All Ends slowly pulls the listener in with its moving, melancholy melodies. The vocals are gorgeously smooth and emotionally-charged, speaking to the inevitability of endings caused by the breakdown of trust. There are a few chunky riffs to underscore the sharper edges of the narrative, but for any new listeners, The Eternal has a more theatrical approach to metal. There is heaviness here, but used very deliberately. The intensity of the dynamics ebbs and flows from the pathos of the verses to the lamentations of the chorus, building to an epic ending, where the choir of voices feels like a Greek chorus crying out over the futility of it all.
If you’re looking for a more doom-laden track, Bleeding Into Light has a lugubrious verse leading into a heavier, proggier chorus. The rhythm and the synth elements are a flawless foundation for the moving guitar lines, and the instrumental interludes between the chorus and the following verse are some of my favorite parts of the track. Kelson’s vocals are passionate, with just the right amount of fervency to prevent them from being too saccharine. It’s a delicate balance, but The Eternal straddle the line like the pros they are, playing up the emotion without straying into mawkishness.
Casting Down Shadows has a more ominous intro that’s a little more riff-y than we’ve heard so far. The verses are stripped down with simpler rhythm and guitar lines, giving them a dirge-like feel. It has a Middle Eastern atmosphere that transports the listener straight to Egypt and the shadowy, torch-lit tunnels of the pyramids. The layered vocals add an eerie element to the funereal verses, contrasting beautifully with the epic, cinematic chorus. This juxtaposition speaks to themes of death and rebirth. The synth echoes the Middle Eastern vibe, adding a unique, proggy element that punctuates the almost supernatural ideas in the narrative. It gave me a flashback to ’90s Dead Can Dance, which is never a bad thing. This is far and away my favorite track on the album.
Everlasting MMXXV is a re-vamp of a track from their second album, Sleep of Reason. There are some additional symphonic elements in the intro, and the mix feels cleaner. However, the melody of the vocal line is slightly different, with the 2026 version being pitched a bit higher in general. The layered vocals feel fuller in the original, and the bottom vocal line is measurably lower. The instrumental break in the 2026 version is more robust, whereas the original is comparatively stripped down with a more straightforward rhythm, and the piano line is highlighted in the mix. The solo has been overhauled in the 2026 version, and the track seems faster overall, but that may just be my impression. I have to admit a slight bias for the original, although I do like this version. There is a sort of Alan Parsons Project feel to the original that I love, especially in the vocals, that is missing from the re-vamp.
Overall, fans will find Celestial a worthy addition to The Eternal’s stellar catalog. As I alluded to above, The Eternal expertly blends what would be disparate elements in other, less-talented hands. The rhythm is flawless, but I expect no less from anyone who has been part of Amorphis. The guitars strike the right notes, with the proper amount of weightiness and crunch, without being too heavy-handed for the compositions. The vocals work very well for this type of music, and Kelson’s singing is first-rate here. He’s emotional and intense, but never too sentimental. My only real issue is that I want a bit more metal. There were a few tracks, Bleeding Into Light, for example, that could have benefited from a bit more harshness in places. If you’re already a fan of the band, you definitely don’t want to miss this. If you’re into gothic, doom, or prog, and you’re looking for something new, Celestial is undoubtedly worth a listen.
(4 / 5)
