This is the debut album from Hiroe, a post-rock/post-metal band from the US.
Wield is a 48-minute instrumental album that combines elements of doom, progressive rock, post-metal, and shoegaze into a compelling post-rock framework. Hiroe are skilled worldbuilders, and their debut album is a strong one. Continue reading “Hiroe – Wield (Review)”
Lera are an Italian post-metal band and this is their debut album.
Containing a graceful mix of post-metal, doom, and post-rock, Rêverie is a 40-minute journey into intricacy and heaviness. Lera have produced a record that is worth spending time with, unravelling its charms and secrets. Continue reading “Lera – Rêverie (Review)”
This is the second album from Gaahls Wyrd, an avant-garde/dark metal band from Norway.
I really liked both 2019’s Gastir – Ghosts Invited and 2021’s The Humming Mountain, so the 42-minute Braiding the Stories is gratefully received. This is not music to be casually experienced, but an experience to be explored at length. Continue reading “Gaahls Wyrd – Braiding the Stories (Review)”
This is the debut band from Ceresian Valot, an rock band from Finland.
Brought to us by ex-members of Ghost Brigade, Uumen contains 44 minutes of a hybrid alternative/progressive/post-metal/rock style that is engaging and evocative. Continue reading “Ceresian Valot – Uumen (Review)”
Acceptance are a post-black metal band from the UK and this is their debut album.
Previously known as Fatalist, (with an album under that name, so whether this is their first or second I suppose is up for debate), Acceptance exist at an interesting intersection between atmospheric black metal, sludge, blackgaze, and post-rock. Continue reading “Acceptance – Crucifixion of Orchids (Review)”
Svnth are an Italian blackgaze band and this is their fourth album.
I’ve enjoyed watching Svnth develop over the years, back when they were called Seventh Genocide on 2017’s Toward Akina and 2018’s Svnth, and then when they changed their name for 2020’s Spring in Blue, which was their strongest outing yet, even making it onto my year end list. Which brings us, five years and a lineup change later, to the 37-minute Pink Noise Youth. Continue reading “Svnth – Pink Noise Youth (Review)”
This is the debut album from US post-metal band Idle Heirs.
Featuring the singer of Coalesce, Life Is Violence brings us a 51-minute journey into absorbing post-metallic worldbuilding. It’s well-written, professionally executed, and passionately delivered. Continue reading “Idle Heirs – Life Is Violence (Review)”
This is the third album from UK post-metal band The Grey.
The Grey blend post-metal with stoner doom riffery and post-rock grace. Kodok spends 42 minutes building a variety of sonic soundscapes that are immersive and absorbing. Stylistically, we’re in the territory of acts such as Pelican, Red Sparowes, Mountain Caller, Russian Circles, Bossk, and similar, at least as a rough starting point for Kodok. Continue reading “The Grey – Kodok (Review)”
This is the fourth album from UK post-metal band Telepathy.
What do we have here then? The promo blurb Pelagic Records recommends Telepathy for fans of Tool, Deftones, Russian Circles, and The Ocean, which, coupled with the fact that it’s on the ever-interesting Pelagic Records, meant I couldn’t pass this by without checking it out. Let’s get stuck in then. Continue reading “Telepathy – Transmissions (Review)”
This is the second album from Belgian post-metal/sludge band Pothamus.
Following on from 2020’s enjoyable Raya, Pothamus have returned with 47 minutes of new material in the shape of Abur. The band have taken their past work and made it even more atmospheric and nuanced, treating us to an evocative blend of post-metal, post-rock, and drone. Continue reading “Pothamus – Abur (Review)”
Wonderbox Metal 