From Bandcamp, “Named after a mythological Latvian protector of cemeteries (Kapu māte), MOTHER OF GRAVES’ music honors the memory of a fallen bandmate. "Where the Shadows Adorn" explores mortality and loss in every growl and crestfallen note. Founding guitarists Chris Morrison and Ben Sandman—who also recorded and mixed the record—fill the album with mournful melodies. As Morrison summarizes, “We wanted to write songs that were more melodic, heavier, darker, and memorable.”

“Gallows” is first. Low, slow and somber tones mar the opening, seguing into a faster pace with guttural vocals. There are also some ambient moments, and here is where you can really feel the starkness of the song. “Shatter the Visage” has more obvious melodies, from the opening keyboards, to leads which sing over the riffs. Even the vocals, lthough harsh and hardened, drip with emotive qualities. There is a push and pull from there, with melody and contentiousness tied together. “A Scarlet Threnody” features the gentle sway of guitar tones, and those somber feelings are amplified. For me, I feel like I am completely alone and when I look around, no one and nothing is there. It’s a gut-wrenching feeling that is as stark as it is prophetic.

“Apparition” pushes a good deal of melody forward, but it is also very sober and serious. In fact, each guitar note, and every strike of the drums feeling like another nail on your coffin. It does pick up in pace, but somber qualities remain strong. “The Periapt of Absence” features violin notes in the beginning, which just add to an overwhelming feeling of emptiness. From there, the guttural lock in, sounding like the last gasps of a dying man. “As the Earth Fell Silent” is about as ominous a title as there is within the Doom genre. Low piano notes pepper the opening, sounding like the song is going to just drop off the end of a precipice. The effects in the angry vocals however keep the song sturdy on the ground.

“Upon Burdened Hands” pushes more melody out of the gate, although it remains somber, and the piano interlude is another crushing experience. “Like Darkness to a Dying Flame” closes the album, and following some hopeless guitar tones, the song explodes in sound.  A stirring crescendo might be the best part of this song. It is done with great care, at just the right time, closing your eyes to the world. This was an excellent album, highlighting both aggressive structures and melody. The best part for me is that neither side comes out on top, meaning that the band dealt with a difficult balance on the album, and handled it very well.