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Skepticism is a Funeral Doom Metal band from Riihimäki, Finland who are the Trope Codifiers for that genre. Their career, since 1991, has naturally resulted in quite a lot of critical acclaim as one of the genre's pioneers. They have released a single, a demo, three EPs, four full-length albums, and one live album.


  • Matti Tilaeus - vocals
  • Jani Kekarainen - guitars
  • Timo Sitomaniemi - guitars
  • Eero Pöyry - keyboards
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  • Lasse Pelkonen - drums


  • 1992 - Towards My End (7" single)
  • 1994 - Aeothe Kaear (demo)
  • 1995 - Stormcrowfleet
  • 1997 - Ethere (EP)
  • 1998 - Lead and Aether
  • 1999 - Aes (EP)
  • 2002 - The Process of Farmakon (EP)
  • 2003 - Farmakon
  • 2008 - Alloy
  • 2015 - Ordeal (live)


  • Darker and Edgier: They (and funeral doom as a whole) are effectively this to traditional doom and death/doom.
  • Doom Metal: Trope Codifier for funeral doom.
  • Epic Rocking: After their first single, nearly all of their songs have been at least six minutes long, with more over ten minutes than not. Aes is the longest, at nearly twenty-eight minutes.
  • Guttural Growler: Matti Tilaeus' vocal style.
  • Hidden Track: The Process of Farmakon and Farmakon both have them.
  • Indecipherable Lyrics: Since their primary vocal style is growled, this is almost a foregone conclusion.
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  • Live Album: Their latest album, Ordeal, is this, although it consists mainly of new material. Live performances of two old songs, "Pouring" and "The March and the Stream", are included as a bonus.
  • Long Runner Lineup: The line-up was the same from 1993 to 2015. In 2015 they added a second guitarist, Timo Sitomaniemi. Even then, some sources only consider him a live member.
  • Loudness War: Mostly averted until Alloy, which plays the trope straight at DR5. But they were back to averting it with Ordeal, which is DR10.
  • Mohs Scale of Rock and Metal Hardness: Since they're a funeral doom band, it's pretty much inevitable that they mostly occupy the 10-11 range. However, they do this more subtly than you might expect: not all passages are drenched with guitar distortion, and in fact there are some very quiet passages in many of their songs, but on the whole, the heaviest passages of their music are so heavy, and their music overall is so bleak and despairing, that it's rare that any song qualifies below 10.
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  • New Sound Album: Aeothe Kaear is the most obvious example, as it's where they established their funeral doom sound. Before that, they were a straight-up Death Metal band.
  • Remaster: The band released a remastered edition of Stormcrowfleet in 2018.
  • Re-release the Song: Often.
    • "The Everdarkgreen", "Pouring", and "The Rising of the Flames", first released on Aeothe Kaear, were all re-recorded for Stormcrowfleet.
    • "Chorale", first released on Aeothe Kaear, was re-recorded for Ethere.
    • "The March and the Flames" and "Aether", first released on Ethere, were re-recorded for Lead and Aether.
    • "Backward Funeral and the Raven" and "The Process of Farmakon", first released on The Process of Farmakon, were re-recorded with different titles ("The Raven and the Backward Funeral" and "Farmakon Process", respectively), on Farmakon.
    • Finally, "Pouring" (from Aeothe Kaear and Stormcrowfleet) and "The March and the Stream" (from Ethere and Lead and Aether) were recorded a third time, this time in concert, for Ordeal.
  • Trope Codifier: For funeral doom.
  • Two-Part Trilogy: You could consider the EP/album pairs variants of this trope, more or less.
    • Ethere consists of three songs, two of which were re-recorded for Lead and Aether. Ethere runs for about twenty-seven minutes and Lead and Aether for about forty-eight.
    • Similarly, both songs proper on The Process of Farmakon were re-recorded with new names for Farmakon itself (both also have untitled hidden tracks, but those aren't the same). The Process of Farmakon is 17½ minutes long (18½ if you add the silence for the hidden track) is and Farmakon is sixty-one (or, again, sixty-two if you add the silence).
  • Uncommon Time: Shows up occasionally. "Nowhere" has a lot of segments with 5/4, 6/4, and 7/4 mixed irregularly (mostly 5/4, but some 6/4 or 7/4 at the end of each four-measure phrase). The opening of "Nothing" is based on patterns of (5+5+6+6)/4.
  • Up to Eleven: Their style can basically be considered this to traditional doom and death/doom: it's even slower than either of them, with vocals so low pitched as to be incomprehensible.

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