Quite surprisingly for a Black Metal band, they have quite a few sorrowful songs.
- The Old Church Slavonic chant section on "Carnal Malefactor", which also qualifies as Nightmare Fuel. And for that matter, "Carnal Malefactor" in general, when it's not absolutely unsettling and terrifying. It starts off with slow riffs, and the lyrics depict a suffering and decaying world condemned to its own depravity.
- A passage towards the end of "The Repellent Scars of Abandon & Election" is legitimately beautiful. At least, until it transitions into a refrain of an earlier section that can only be described as a riff made entirely of Scare Chords.
- The closing passage of "A Chore for the Lost" is even more so, and in the context of the album, it's absolutely heartbreaking. The opening of the song is no slouch in this department either.
- "Devouring Famine". Subtle, but the riff towards the end coupled with the depressingly hopeless lyrics make for a perfect lead-in to the final track of the album, and of the trilogy.
- The last feature-length album in the trilogy concludes on an immensely harrowing note with "Apokatastasis pantôn", a 4-minute track that dismisses much of the Black Metal influences that Deathspell Omega are most known for, replacing it with a post-rock sound that might be best summed up as a Despair Event Horizon in a musical format.note You were seeking strength, justice, splendour! You were seeking love!
Here is the pit, here is your pit! Its name is SILENCE. - Drought officially brings the trilogy to its logical conclusion: God finally surrenders, granting Satan full dominion over the earth, leaving the human race to die and turning the planet into a barren desert with the only existing life forms being scorpions. Only when Furnaces was released did they manage to write about an even more depressing apocalypse.
- Even though The Synarchy of Molten Bones contains some of the band's most abrasive music to date, its second track, "Famished for Breath", ends with a surprisingly soulful, fingerpicked distorted guitar passage. Even the relentless blast beats and harsh vocals don't end up diminishing it.
- The ten-minute-long "Onward where Most with Ravin I may meet", from the same album, is largely this from about the six minute mark, when the song shifts into a (relatively) slower tempo. Much of the tail-end of the song is basically a string of one bleak, dusky riff after another, and even the extended Epic Riff section starting at about eight minutes manages to be as sombre as it is uplifting.
- "You Cannot Even Find the Ruins..." is nothing short of a funeral dirge for human civilization. The instrumental is as bleak as anything they've ever done, and the lyrics describe how all the efforts of humanity are doomed to fade away so thoroughly as to leave no evidence they ever existed at all. It helps that, rather than the menacing bellow that Mikko Aspa uses, the vocalist sings in a kind of croaking whisper, making them sound like an ancient, desiccated corpse.
- The band's outlook in general. There's no point in fighting against the suffering that humanity is doomed to endure, because there's no salvation coming.
