Stream from the Heavens continues the funeral doom subgenre that Thergothon pioneered with their 1991 demo Fhtagn nagh Yog-Sothoth.

According to the album notes, the band started to compose songs between 1990 and the end of the recordings, which took place from October to November 1992.

The sound of the album is characterized by non-metal influences such as gothic rock, dark ambient and progressive rock and, compared to Fhtagn nagh Yog-Sothoth, extreme slowness,[3] an impression confirmed by Sirkiä, who, questioned on the influences of Thergothon which led to the sound of the album, named the following inspirations: "Probably either the Doors or Black Sabbath.

[2] In retrospect, however, more important than musical influence seemed to him to be the search for means of expressing one of mine considered universal as an existential fear at the end of adolescence.

In addition to the information on the recording, the lyrics in the booklet were printed in a calligraphic font in white on a black background.

"[9] In the weekly series Funeral Friday, which was written for the Webzine Metal Injection, journalist Cody Davis presented Thergothon as the starting point of the genre.

Accordingly, bands like Rigor Sardonicous,[12] Mournful Congregation, Profetus,[13] Beneath Oblivion,[14] Woebegone Obscured,[15] Ea,[16] and Funeral Moth have released albums which have been compared to Stream from the Heavens.

Performers and musicians such as Kostas Panagiotou of Pantheist, Nathan Guerrette of Great Cold Emptiness, Nortt, Sacha Dunable of Bereft, Jonathan Théry of Funeralium and Ataraxie, John del Russi of Hierophant and Catacombs and Nick Orlando of Evoken cited the album as an inspiration for their own music.