This is the debut album from UK post-hardcore band Hidden Mothers.
Genre is a funny thing. Post-hardcore, screamo, blackgaze…all are applicable to Hidden Mothers, yet none of them fully encapsulate the 42 minutes of material on Erosion / Avulsion. I suppose something like atmospheric post-hardcore is probably the closest to it, but let’s not quibble over terms. Besides, all that really matters is the music and the impact it has. Continue reading “Hidden Mothers – Erosion / Avulsion (Review)”
This is the sixth album by UK hardcore band Polar.
It’s always a pleasure to catch up with Polar. Ever since 2016’s No Cure No Saviour I’ve been a big fan of the band’s hardcore/post-hardcore stylings. This album was followed in 2019 by the heavier Nova, and then in 2023 by Everywhere, Everything, which developed Polar’s more textured post-hardcore side. Now, uncharacteristically fast, we have Five Arrows, which brings us 38 minutes of new material. Continue reading “Polar – Five Arrows (Review)”
Silhouette are a post-black metal band from France and this is their debut albm.
Les Dires de l’Âme contains 46 minutes of blackened post-metal that takes from the atmospheric and blackgaze styles with skilled ability. It’s an interesting, enjoyable, and well-rounded album that Silhouette have put together. Continue reading “Silhouette – Les Dires de l’Âme (Review)”
This is the fourth album from Portuguese black metallers Gaerea.
Ever since I first heard 2018’s Unsettling Whispers Gaerea have stood out to me as something pretty special. In 2020 Limbo solidified this opinion, and then in 2022 Mirage cemented this further. In fact, my appreciation of Mirage has only increased since catching the band’s transcendental live experience at this year’s fantastic Fortress Festival. I have high hopes for Coma. Continue reading “Gaerea – Coma (Review)”
This is the fifth album from US metallic hardcore band 156/Silence.
People Watching contains 47 minutes of 156/Silence’s brand of crushing metalcore. It’s a contemporary blend of hardcore and metal that’s not completely what I expected it to be. Continue reading “156/Silence – People Watching (Review)”
Respire are a post-hardcore/screamo band from Canada and this is their fourth album.
Now here’s something interesting. Respire describe themselves as an orchestral post-everything collective. They have seven core members, six of whom provide vocals, and collectively they play the usual instruments you’d expect, plus synths, viola, violin, and trumpet. There are also guests that bring vocals, saxophone, piano, synths, glockenspiel, music box, vibraphone, and additional strings to the mix. There’s a lot going on here. Continue reading “Respire – Hiraeth (Review)”
This is the fifth album from UK metal band Earthtone9.
11 years after their last album, Earthtone9 have returned to deliver more of their individual and idiosyncratic take on heavy music. You could probably get away with calling this a few different things – alternative metal, post-metal, post-hardcore, modern metal, progressive metal – but ultimately Earthtone9 have always moved to their own beat, and had their own quite distinctive sounds very early on. Continue reading “Earthtone9 – In Resonance Nexus (Review)”
This is the fourth album from US blackened post-hardcore band Glassing.
2019’s Spotted Horse caused people to pay attention to what Glassing had to offer, but it was 2021’s Twin Dream that really impressed. From the Other Side of the Mirror offers 42 minutes of new material, and its as good as you would hope for. Continue reading “Glassing – From the Other Side of the Mirror (Review)”
Protosequence are a Canadian technical death metal band and this is their debut album.
Bestiary contains 33 minutes of technical mayhem that’s unusually variegated. After enjoying Protosequence’s 2020 EP A Blunt Description of Something Obscene I was looking forward to hearing this, and it has not disappointed. Quite the opposite in fact. Continue reading “Protosequence – Bestiary (Review)”
This is the third album from Venues, a modern metal band from Germany.
2018’s Aspire was good, but 2021’s Solace was where Venues really came into their own. The more I listened to it, the better it got, and it’s still a record that’s great when you want anthemic and catchy modern metal.
Now we have Transience, so let’s dive in. Continue reading “Venues – Transience (Review)”
Wonderbox Metal 