THE SEPULCHRAL BELL

A short story inspired by Bell Witch
By W.H. Sepulcher

It began with a sound too heavy to be wind. A low toll, more felt than heard, that stirred the reeds outside my shack by the marsh. It came at dusk, when the sky was nothing but a smear of bruised purple, and the water looked like oil.

I didn’t remember building the shack. I didn’t remember how long I’d lived there.

The bell tolled again.

I took my lantern and followed the sound. It pulled at the base of my spine, a dull magnetism. Each step sunk into soft peat, and the fog gathered around me like wet hands. There were no birds, no insects. Only the bell.

Hours passed. Or maybe days. Time grew soft. Hunger faded. I didn’t speak. I didn’t think. I just moved toward the sound like something returning home.
Eventually, I reached what I thought was a village, half-swallowed by the mire.
Sagging roofs, doorways like yawning mouths. And there, at the center, a church bell hung in mid-air—not from a tower, but suspended by nothing, cracked and moss-eaten, swaying in rhythm to no wind.

I approached. Beneath the bell, half-submerged in black water, stood figures. Still. Hooded. Their faces were wrong: stretched thin like wax left in the sun. One turned toward me. Its eyes were hollow, but I recognized them.
It was my mother.

She had died years ago, I was sure of it. But here she stood, her mouth opening to sing with the bell. The others joined. A dirge, slow and low, like the earth mourning itself.

I wanted to run, but my legs had forgotten how. My hands trembled, but I did not drop the lantern. I stepped into the water. My mother took my hand, and it was cold as stone. She whispered: “You never left. You only forgot.”

Behind her, the other figures began to sway, their voices deepening into a harmony that seemed older than the ground beneath us. I saw faces—my grandfather, a childhood friend, a man I had once watched die in a fire. All singing. All still. All waiting.

The water was rising. Slowly. Deliberately. I felt it lapping at my ribs, but I did not shiver.

The bell tolled again. Louder now. Inside my chest.

I looked back, one last time. The path was gone. The reeds had overtaken it, grown thick and high, and in the distance, my shack had crumbled into rot.
The lantern flickered.

My mother let go of my hand and stepped back into the circle beneath the bell. Her mouth still moved, but no words came. I knew the song now. I knew the silence between the notes. I understood what they were singing for.
I opened my mouth and joined them.
The bell tolled again.
And I remained.

Q&A: Rosary

Polish doom trio Rosary bring a lot more than just heavy riffs to the table. Rooted in faith and driven by a deep love for traditional doom metal, they’ve carved out their own unique path since forming in 2017. Doomnation Radio caught up with frontman Misha to talk about the meaning behind the band’s name, the evolution from Telestai to The Broken Sacrament, and what makes the Polish doom scene such a vibrant, diverse force. There’s talk of ghostly ponds, dream festivals in forest graveyards, and a whole lot of doom – the kind that still carries a flicker of hope beneath the gloom…

* Answers by Misha (vocals, guitars, synthesizers).

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CineDoom: The Lingering Terror of Hour of the Wolf (Vargtimmen, 1968)

Ingmar Bergman’s Hour of the Wolf (Vargtimmen, 1968) is a chaotic descent into paranoia and existential horror, a film that erases the boundaries between reality and nightmare. Starring the brilliant Max von Sydow as Johan Borg and Liv Ullmann as his devoted wife Alma, the film follows a tormented artist retreating to an isolated island in search of solitude. But solitude soon turns to suffocation as Johan becomes haunted by disturbing visions and strange, elusive figures who may or may not be real. As Alma watches helplessly, Johan spirals further into madness, confronting demons – both personal and possibly supernatural – that threaten to consume him entirely.

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Doom Library: Thomas Ligotti – The Conspiracy Against the Human Race

Thomas Ligotti’s The Conspiracy Against the Human Race is a troubling unraveling of the self, a meticulous dissection of consciousness as a terminal affliction. Ligotti makes a grim but compelling case: consciousness is an evolutionary error, a cruel joke played upon humanity, trapping us in a perpetual cycle of suffering and self-awareness.


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Doom Cinema: The Elephant Man (1980)

The Elephant Man is a bleak exploration of suffering, dignity, and society’s unforgiving treatment of those who do not conform. As a tribute to the late David Lynch, this review revisits one of his most emotionally devastating works, a film that rejects sentimentality in favor of an unflinching look at human nature. With stark black-and-white cinematography, an oppressive industrial soundscape, and a powerful portrayal of disability, The Elephant Man is a biographical drama that mediates on how we define humanity and whether true acceptance is ever possible….

🛑 Note: This review may contain spoilers.

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Q&A: Faustian Slip

Faustian Slip is the doom metal project of Jason Sullivan, a solo artist from Florida whose music blends classic doom influences with personal convictions, creating a sound that captures the essence of the genre. In this interview, he discusses the origins of Faustian Slip, the creative process behind reworking tracks for his latest EP, and the distinct challenges and freedoms of being a solo musician. With steadfast dedication to his craft and a focused vision for the future, Jason reveals what’s next for Faustian Slip and the music that defines his path.

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Q&A: Void Sinker

Void Sinker, the one-man project of Italian musician Guglielmo Allegro, crafts instrumental doom and drone metal that explores themes of isolation and transformation, weaving through evocative soundscapes that defy boundaries. In this interview, he offers a fascinating insight into the recording process from a solo artist’s perspective, focusing on his latest 2024 album, Stuck, while discussing the evolution of Void Sinker. He also shares his thoughts on the current Italian doom, sludge, and drone metal scene, reflecting on its vibrancy and influence, and the challenges and rewards of being an independent artist.

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