Lost in Kyiv - We're All Going to Be Fine (2026)

The release of the 5th album from the French band turned out to be the perfect occasion, in the artists' eyes, to have a small lifting to their name. Small but significant, as the outfit, closely tied with the Ukrainian nation's struggles and war effort, decided to honour this and from now on use the Ukrainian way of spelling the country's capital's name. Consequently, the new album kind of got lost (sic!) in this commotion. And it shouldn't be the case, cause they band never disappoints.

Lost in Kyiv are almost perfect when it comes to making "modern" post-rock. One that is both melodic and impactful, with heavy use of synths and some unorthodox elements to the compositions. Within this subgenre, they manage to be very exciting while always delivering what is supposed of them. This post-rock is heavy, but not too heavy, it's melodic, but not too melodic, modern-sounding, but also not deprived of emotions. I love Burst with its synthy flow, Eclipse for its glitchy moments and Euphoria for its... well, euphoric vibes. This is not going to be THE best post-rock album of the year for me, but it certainly will be one I'll be coming back to a lot. But not to the track with Rebecca Need-Menear's vocals. Sorry, it just doesn't agree with me.

Interestingly, the album's title really fits the trend of hopeful and warm messages sent by post-rock(ish) artists. Suffice it to say, only this year we had Million Moon's You Be Good, I Love You or VLMV's There Will Come Soft Rains. I guess this is ONE way of responding to today's world, especially when you are (like LiK and like me) emotionally invested in a brutal war we have here, in Europe. Cheers to the trend then.

We're All Going to Be Fine costs 5 EUR.

Check: Burst

Country: France

Genre: modern post-rock

Label: Pelagic Records

Lost in Kiev - Rupture (2022)

Lost in Kiev - Persona (2019)

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VLMV - There Will Come Soft Rains (2026)

Pete Lambrou is now the whole VLMV and he just released his new album with Pelagic Records. The "ambient-ish post-something" of his is as spiritual and tasteful as ever with a very heavy focus on the "singer/songwriter" part of the music, making me think of Raised by Swans a lot, not only because of how beautiful his vocals are.

This is this kind of post music that should be closer to post-pop or post-singer/songwriter than anything else: the core of the compositions here IS the lyrics and the vocals combo and the song's gravity is built by their presence. The sensible, lyrical songs don't care about the melodies that much, their role is to catch the listener and guide them from the chaotic reality of today's world into a safe place of beauty and calm. Even if in a very bitter fashion: "Robins will wear their feathery fire/Whistling their whims on a low fence-wire/And not one will know of the war, not one/Will care at last when it is done" reminds me very much of the post-war songwriting in Poland with a modern, pessimistic twist.

And this highly artistic sensibility of VLMV is noticeable also in the visual side of the project with one of the most striking cover art examples I know. Musically speaking, the artist's cheeky self-description is exactly spot on: the music here certainly feels ambientish with soundscapes made of soft electronica, moody violins and delicate guitars as well post-something-ish as the whole thing took off from the Scandinavia-esque dark pop and landed somewhere else. 

There Will Come Soft Rains costs 7 EUR.

Check: Bodies Grown, Pt.2

Country: UK

Genre: ambient singer/songwriter

Label: Pelagic Records

VLMV - Sing With Abandon (2022)

VLMV - Stranded, Not Lost (2018)

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Hanry - What Came From Silence (2026)

So it happens that two major contenders to the post-rock AOTY are being posted on this blog right after another. But while Kokomo's already recognized powerhouse within the genre, the French Hanry only just debuted with their album What Came From Silence. Not to mention that they could hardly be more different musically while still being more or less within the same music genre. So after the ruthless guitar heaviness yesterday, it's time for sublime and cinematic electronica-based post-rock.

Among their inspirations, the band lists shoegaze and trip-hop and you can really hear it from the first notes of the album. There is at least a perfect balance between the guitar and the electronic sounds with a heavy emphasis on the synth's presence. I feel like this is the French post-rock's specialty but unlike in Dragunov's and, especially, BRUIT ≤'s chaos, Hanry offer mellower, softer approach to the subgenre. More towards Lights and Motion than The Age of Ephemerality if you catch my drift. This doesn't mean that there is no more intense parts on Hanry's album though. The focus is clearly put more on the cinematic than the noisy.

What I love in their music is the flow the compositions offer: the synth-heavy and noisy parts (Remains! Time's Collapsing!) that capture you and leave you no choice but to follow them until a satisfying closure. The more I listen to it the more I feel like it really is BRUIT ≤ minus the weirdness, making it way easier to appreciate the intriguing soundscapes and electronic beauty the band creates, especially in the synths department. One more great reason to travel to this year's Pelagic Fest in the Netherlands. 

What Came From Silence costs 5 EUR.

Check: Remains

Country: France

Genre: electronic post-rock

Label: Pelagic Records

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Barrens - Corpse Lights (2025)

Their 2020 debut was a shock to me. How can you include such fantastic post-rock music on your first ever album? No wonder I recognize the Swedes as one of my biggest discoveries within the genre in recent years. Now it's time for a difficult step: proving your value on the second album. And, surprise, surprise, Barrens took the step with extreme grace.

The release starts strong with my two favourites: The Derelict and Sorrowed. Those tracks have everything: the engaging but not cringey melodies, the flow, the heaviness to the sound. These are absolute hits if post-rock music can generates hits at all. These must be the pinnacles of the live gigs (I don't know yet, but hopefully I'll find out if that's true soon). They are the parts of the album that will be remembered. After that duo, the Swedes step on the brake pedals and try to enchant the audience with some ambient atmosphere developing into slower grandeur-filled pieces, but, I have to say, I like them best when they are fast and furious.

The album is a well-balanced one. The way the band combines the melodic fragments with darker and heavier ones makes me think that any post-rock fan will surely like this album, but perhaps for different things. I like the darker and heavier, but also faster parts and can honestly say that it's a real continuation of the fantastic debut.

Corpse Lights costs whatever you want to pay.

Check: Sorrowed

Country: Sweden

Genre: atmospheric post-rock

Label: Pelagic

Barrens - Penumbra (2020)

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Hiroe - Wield (2025)

They may be seen as US new big post-rock group or maybe it's just a media stunt. Nevertheless, the truth is that the Pennsylvania band of Hiroe released their second album which is as good as the first one and includes the same heaviness of guitar music as the debut. So maybe it is true after all?

You can safely say that their music has a lot borrowed from heavier, metal music. The guitars feel overwhelming, sometimes there is some of the guitar riff racing (Collider!), but the thing that strikes me most is the pace the drums keep in some tracks. Makes you feel alive that one. That's why, if we play the genre game, I'd say Hiroe is the band right on the border of post-rock and post-metal, right in the crossfire if the front moves one day.

Being a thematic continuation of Wrought, Wield comes back to the thoughts on the "transformation stemming from personal loss within the context of a devolving world, against the backdrop of the global pandemic" and I don't know if it's just me, but the sound of the music makes it quite a bleak realization in the end. Still, with Mario Quintero as producer and Cult of Luna's Magnus Lindberg mastering, the album feels fantastic quality-wise.

Wield costs whatever you want to pay.

Check: Tides

Country: Pennsylvania, US

Genre: heavy post-rock

Label: Pelagic Records

Hiroe - Wrought (2022)

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BRUIT ≤ - The Age of Ephemerality (2025)

As I have stated a couple of times, I respect bands who decide not to use Spotify and this kind of streaming platforms while it still makes me sad. Because I can't freely access their music (even if I buy digital files from Bandcamp) and because the world of music industry is what it is. Nevertheless, there are bands like BRUIT ≤ whose music HAS TO BE listened to, even if it's not that easy. And the French band confirms that with their spectacular second album.

This is the most complicated post-rock music ever. In the sense that it is made with guitars, orchestral instruments as well as the electronic manipulations. I can't think on any other band who goes to so many places to make their music and make it sound so coherent at the same time. There are almost math rock parts on the new album and they sound like weird collages made of drones and social media, but they are mostly used as intros and backgrounds. The music is made with instruments and later heavily packaged into the modern, glitchy post-rock form which makes it double as attractive in my ears.

This correspondents with the band's world view that is really this kind of technocratic punk, rebelling against the oppressions of the modern world, politics, society. Everything that hurts us even if we don't recognize it. This album is for everyone who would want to start recognize them and follow the band in chanting "We hope to be among the damned who refuse to have faith in their masters and who do everything to escape the cameras in the streets".

The Age of Ephemerality costs 8 EUR.

Check: Progress / Regress

Country: France

Genre: modern punk post-rock

Label: Pelagic Records

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SOM - Let the Light In (2025)

SOM might be the band that made me interested in doomgaze as a genre. Their 2022's album The Shape of Everything really stuck with me and made me excited for the follow up. This came just two weeks ago in the shape (ha!) of the equally green and equally good album called Let the Light In.

High pace, complex music backgrounds and Jonas Bjerre-esque vocals is what characterizes the Americans. In their music, the "doom" part certainly doesn't refer to the speed in which the tracks go by and by. It's fast, there's a seducing flow, the compositions are catchy. The "doom" part is the heaviness of the music that contrasts so beautifully with the fragile, soft vocals that really make me think of Mew's airy madness. But what strikes me most is the ingenuity that is so well perceptible in the backgrounds. Everything that takes place under the vocals in Let the Light In, Chemicals or Give Blood is shockingly awesome.

The first part of the album feels certainly stronger. Maybe it's because this kind of intense music may tire the listener a bit with time. But still, it's one of the best bands of its kind out there and I can't wait for an opportunity to see them live somewhere out there.

Let the Light In costs 7.99 EUR.

Check: Chemicals 

Country: US

Genre: energetic doomgaze

Label: Pelagic Records

SOM - The Shape of Everything (2022)

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Pothamus - Abur (2025)

The sophomore album that is even better than the debut? It's how it is with the Belgian doomgazers/ sludge metal heads of Pothamus who released their new album via Pelagic making it the most interesting post-metal release of the beginning of the year. The psychedelic meeting the heaviness? Count me in!

This repetitious, tribal-like pace is certainly what strikes the most while listening to Abur. The flow of the tracks is unbelievable, you can start listening to the first track and suddenly realize that it's been almost an hour and you sit mesmerized by the guitar psychedelia. And this doesn't mean that the album is monotonous, quite the opposite, there is space for dance-inducing, high voltage parts and for meditative, musical mantras at the same album.

An important part of the band's philosophy is the way it looks to the Eastern cultures, which can be spotted even by complete laymen in the title of the first track (and I assume the following ones as well). The spiritual component of the Belgians' music is so important for them that the band describes themselves using the phrase "mixing music and metaphysics" as the starting point. In other place, they say about this album that "[the songs] are vessels of meaning and ideas, meant to be carried, reshaped, sung back into the air". For me, the mesmerizing, tribal-like rhythm certainly invites some self-reflecting states.

Abur costs 7.99 EUR.

Check: Zhikarta

Country: Belgium

Genre: spiritual doomgaze

Label: Pelagic Records

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WuW - L'Orchaostre (2023)

Inspired by "classical music, free jazz and drone", WuW is a French duo made up of two brothers Colins who together create an exceptionally interesting take on heavy post-rock/post-metal music. The new instance of their work is their third album called L'orchestre.

This is an orchestra that is based on heavy and crunchy sounds of guitars. The list of the band's inspirations include Year of No Light, Dirge and Omega Massif and it's no surprise as this slow at first, but gradually faster and faster music is headed towards very guitar-oriented self-expression. It's tad heavier than post-rock and way more similar to stoner metal than rock music, but it lacks any kind of post-metal vocals so I'd put it on the very border of the genres. No matter the genre, this is this kind of music that is meant to overwhelm the audience with the sheer weight of the sound: the slower, stoner riffs and the pretty minimalist vibes of this music can be felt in every inch of your body.

L'Orchaostre costs whatever you want to pay.

Check: Orchaostre 5

Country: France

Genre: guitar post-metal

Label: Pelagic Records

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Wang Wen 惘闻 - Painful Clown & Ninja Tiger (2022)

The Chinese icons of post music, Wang Wen, are back with their new album called Painful Clown & Ninja Tiger. For over 20 years, the artists are known for the fact that their music is far from the traditional definition of post-rock, yet still appealing to the genre's fans.

The new album is a hodgepodge of traditional, instrumental post-rock very much in the old God Is an Astronaut style, with vocal-led moody songs. But unlike those from Immanu El or ef, the vocals here are not oneiric ghosts, they are more like traditional, slightly old-school music-inspired. These old-school vibes are noticeable throughout the whole album, in the vocals, in the sound of saxophone, in melodies that feel like taken from the 80s. It has its charm, that's for sure. It may feel a bit disorientating genre-wise and it's probably not a thing for everyone, but the slower pace of the compositions and the artsy take on the instrumental music really are entertaining.

Painful Clown & Ninja Tiger costs whatever you want to pay.

Check: There's a Wallmart Underneath the Olympic Square 

Country: China

Genre: old-school post-rock

Label: Pelagic Records

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Ef - We salute you, you and you! (2022)

The fifth album in the Swedish band's discography came after a long, almost a decade-long hiatus. But it was worth waiting for as We salute you, you and you! brings what best in the Nordic way of approaching post-rock music.

In their music the lively guitars and beautiful strings coexist with the Immanu El-like atmospheric vocals. The single's Moments of Momentum is the perfect example of this brilliant way of building compositions, the best way to end up with an instant post-rock hit in my opinion. There's a healthy dose of the music mystery and atmosphere without being too bland. And while the opening track is mostly focused on the mood, the Swedish prove that it's also possible to use guitars and string in more energetic, louder way.

I can't say if what strikes in their music the most is the airiness or the energy. Even the most ethereal tracks like Hymn of... can very quickly transform into almost post-hardcore passage of gloomy aggression (which is a nod to the artists' past in hardcore music). The whole album is a bag filled with various moods with an ambient Leuven added for a good measure, and this is what makes it a spectacular comeback. It is such a bliss that, also thanks to the uneventful life in the times of the pandemics, the band decided to come back together.

We salute you, you and you! costs whatever you want to pay.

Check: Moments of Momentum

Country: Sweden

Genre: atmospheric post-rock

Label: Pelagic Records

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Lost in Kiev - Rupture (2022)

It's been already three years since the French post-rockers of Lost in Kiev released the fantastic Persona and already a decade since their debut album Motions. To mark this milestone, the band shows their fourth LP called Rupture.

And, truth be told, it is mostly kept in the style they managed to get us used to already: the guitar post-rock filled with modern and exciting electronica up to the lid. As the guitars are really meant to be overwhelming and pretty dark-sounding, at least at the beginning, the lighter synthy side balances the resulting music perfectly. The material was recorded live and it may be the reason behind this energetic and engaging sound. The artists claim to dedicate this album to the environmental fight and "eco-angst" we all experience more and more these days - interestingly enough, they convey this in very modern-sounding way. And not that dark after all.

Because the further the album goes, the lighter, more melodic the compositions become. All of them are only instrumental, the only exception is the second track here, Prison of Mind, which reveals the album's guest star, The Ocean's vocalist, Loïc Rossetti and... it's honestly my least favourite track. On Rapture and generally in the French band's discography. The post-hardcore-like vocals don't match the complex music of Lost in Kiev as I see it. Or maybe I just really don't like this kind of vocals.

Rupture costs whatever you want to pay.

Lost in Kiev - Persona (2019)

Check: We Are

Country: France

Genre: modern post-rock

Label: Pelagic

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Hiroe - Wrought (2022)

One of the most impressive post-rock debuts of the last time. The Pennsylvania-based post-rockers of Hiroe released a short album called Wrought which is filled with the most monumental noise a guitar-focused collective could produce.

The album is yet another music work that is strongly affected by the times of the pandemics. The Americans decided to construct those uplifting and hopeful monumental compositions as an "ode to the resilience and power of the human individual, carrying over feelings of anger, anxiety, and loss" with a strong focus on overcoming those and getting on the other side where hope reigns. This is the kind of music that is centered around three guitars and the impressive wall of sound they are able to generate. And although in some places it feels like a hit in your jaw, overall they provide the very positive feelings: the energy boosts, the optimist hope, the massive awe. 

The grandeur of the sound and the way the compositions are skillfully structured make it clear that Hiroe is bound to be the next big thing on the atmospheric instrumental music scene alongside, among others, their compatriots from Coastlands - but unlike Coastlads' monumental gloom, Hiroe offers some of the much-needed consolation.

Wrought costs whatever you want to pay.

Check:  Doom Moon

Country: Pennsylvania, US

Genre: atmospheric post-rock

Label: Pelagic Records

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SOM - The Shape of Everything (2022)

The American band SOM debuted five years ago with The Fall but at the beginning of this year they managed to release an even better followup in the form of The Shape of Everything (pun intended). Their heavy blackgaze is dark and captivating, no wonder this is one of the more important heavy music albums of January.

The band's sound, already baptized as "doom pop", creates a post-metal, heavy-guitar-oriented atmosphere with delicate, dreamy vocals sitting on top. In this case, they very much remind me of Holy Fawn and this is a huge compliment. The balance between the crushingly loud music with guitar riffs that dominate the soundscapes and the ethereal, shoegazey type of delivery is most certainly difficult to achieve but the Americans do it very well. You can feel that the music is heavy and airy at the same time. The blackgaze walls of noise seem to close on the listener in each of the compositions, making them feel as massive as possible and as a shoegaze release should.

This gloomy atmosphere that resides on the album and constitutes the core force behind its might, comes from observing the reality around us. Unfortunately, it usually brings darker inspirations as the band used "the darkness of recent times to create and heal". This blissful sound surely has some healing properties.

The Shape of Everything costs whatever you want to pay.

Check: Son of Winter

Country: US

Genre: airy doomgaze

Label: Pelagic Records

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LLNN - Unmaker (2021)

One of the hottest heavy post-rock/post-metal names of the last month: the Danish LLNN are back with their third album and, damn, is Unmaker a loud and massive masterpiece. It is filled with the blueprints for post-metal music with extremely heavy guitars, striking compositions and impressive vocals.

The vocals by Christian Bonnesen have those particularly desperate-sounding qualities, they may sound angry or dangerous but I always assume there's some desperation in those and this makes them even more poignant and difficult not to be impressed with. Especially when they lead a composition towards such a touching and loud finish as it is the case with Scion. In Desecrator, on the other hand, they are joined by Matt McGachy, the vocalist in Cryptopsy, and his particularly deep and, honestly, very scary growls, ones that couldn't be more different and still located within the metal spectrum. This is this kind of opposition that makes a song a classic instantly.

But the vocals are not everything. I am more happy with the guitar compositions the Danish proposed on their new release. They strike the perfect balance between metal's uberfast pace and post-metal's massive slowness and, what's the most important, present the perfect quality of noise. There's something in this guitar blizzard that makes it bigger than the compositions they function in. Bigger than music itself. I love how ridiculously poignant and crushing they sound in pieces like Division. The movie music composer Peter Albrechtsen said about LLNN's new album that "[he's] obsessed with music that explores what sound can do to our body, to our mind, to our imagination" and now it's clear why we feel this music with our whole selves.

Unmaker costs whatever you want to pay.

Check: Scion

Country: Denmark

Genre: massive post-metal

Label: Pelagic Records

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MONO - Pilgrimage of the Soul (2021)

Even people not very much interested in post-rock music usually know who MONO are. The Japanese band is one of the best recognizable one within the genre and there's little point in explaining who they are here. However, I couldn't not mention their new album Pilgrimage of the Soul on the blog, it's too big of an event this year to skip it.

MONO have also one of the most recognizable and characteristic sounds in the post-rock community. It's easy to guess you are listening to the Japanese band when you here the long compositions that usually slowly grow in power to have the whole might finally released on the listener while at the same time can be shockingly beautiful thanks to the use of piano and string instruments. They have also this peculiar vibe of being slightly lo-fi - and this is the only thing I don't like about their music. I'd rather enjoy their sound in the highest quality possible. Still, their music is nothing less than phenomenal and on the new album they only prove it for the 11th time. 

It starts with a real earthquake in the rapid audio storm in Riptide and its continuation in Imperfect Things only to die down to the subtlest levels in Heaven in a Wild Flower. This shows how versatile the band is, what a multitude of emotions they can express with sound on a single album and even within a single track, especially well-audible in the album's longest Hold Infinity in the Palm of Your Hand. And everything they do feels so massive and crushingly important, no wonder every piece of new music from MONO makes me excited.

Pilgrimage of the Soul costs whatever you want to pay.

MONO & A.A. Williams - Exit in Darkness (2019)

Check: Riptide 

Country: Japan

Genre: massive post-rock

Label: Pelagic Records

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Horte - Maa antaa yön vaientaa (2021)

There's some dreamy/shoegaze projects from Finland I really enjoy and now, after the likes of Radio Supernova and Mumrunner, it's time for the quartet called Horte. The band released their third album Maa antaa yön vaientaa via Pelagic Records this summer and there's no reason not to try it if you are an ethereal music fan. 

The album's title, as far as I understand, translates roughly to "The earth lets the night shut (itself?) down", referring to the darker but also calmer take on the dreamy music they go with. There's not so much of traditional guitar noise here, the airy vibes come mostly from the atmospheric vocals singing in Finnish (it's always something that in my mind adds to the mystery and attractiveness of foreign music) while music is something that borders slowcore-like indie rock or trip-hop with the way it draws from electronica-influenced backgrounds and experimental add-ons. This concoction makes it feel not only very fresh but also extremely artsy, you can see that the musicians must know well what they do.

In this view, Kun joki haihtuu is a special track, the first that shows the louder, the noisier side of the project, the one that is soaked with the unnerving but also exciting atmosphere. Together with Väisty tieltä they create a satisfying and very shoegaze-like finish, which only proves there's little the band can't carry out.

Maa antaa yön vaientaa costs whatever you want to pay.

Check: Kun joki haihtuu

Country: Finland

Genre: trip-hop shoegaze

Label: Pelagic Records

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YEAR OF NO LIGHT - Consolamentum (2021)

The French YEAR OF NO LIGHT exists for 20 years already. After such an impressive time of creating super massive and heavy music, it is not so surprising that the band's celebratory album Consolamentum is not far from a masterpiece.

The album, as could well be expected, is made of "lengthy, sprawling compositions of towering walls of guitars and sombre synths" that emanate the sense of gloomy hopelessness. They can easily start from guitar drones and go all the way to massive and hyper-satisfying crescendos while not really hurrying at any point. Quite the opposite, the compositions take their time to unravel which makes them extremely engaging for the listener, who is not able to go anywhere without hearing the whole thing. It is true for the longest, monstrous tracks like the opening in Objuration and for the shortest but arguably the most exciting Alètheia. 

This last song is even said to be "one of the most agonizing and arguably one of the greatest moments in heavy music of the past decade", and that's no exaggeration as it makes almost 8 minutes of crazy galop with the incredible pace and incredible weight of the sound - it seems unnatural for anything that heavy to go so fast, but perhaps it's the years of experience that make it possible for the artists to conceive such a beautiful monstrosity. The album's title comes from a term in the Catharic Church's lore where it stands for "a ritual that brought eternal austereness and immersion in the Holy Spirit" and that fits within the band's interest in "the fall of man and salvation through darkness". This dark and cathartic music depicts those in the perfect way.

Consolamentum costs whatever you want to pay.

Check: Alètheia

Country: France

Genre: psychedelic post-metal

Label: Pelagic Records

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Oslo Tapes - ØR (2021)

I have my private theory that if there's a name of a city in a band's name, the artists are not from there. And so Oslo Tapes are from Italy but they surely sound like they are inspired by Scandinavia. Their third album only builds on those inspirations with the title, ØR, meaning "dizzy, confusing" in Norwegian. Perfect word to be used here to be honest.

As it strongly suggests, Marco Campitelli and his band make a very noisy and form-fluid psychedelic rock, let's say noisier Rakta-like vibes. The only thing more psychedelic than the music itself is this sentence taken from the album's description: "[it's] a dizzying ride through a feverish dreamscape of imaginary Norwegian highlands painted in cubistic shapes". This music is all about the mesmerizing, trance-inducing guitar passages filled with feedbacks and reverbs. It's also so noisy you can feel it in your teeth, like grainy sand getting its way through your body. There are vocals as well, but they are withdrawn and hidden under the guitar haze, often resorting to whispering like in Zenith.

This works both when they decide to go on with a ballad-like dreamscape (Kosmik Feels) or a full-blown, drums-fuelled psych-rock experience - Bodø Dakar works especially well as the latter with its crazy drums-work (this is the Rakta vibes I sense so much), lively and emotions-filled chanting and tropical traces enrich the general atmosphere of this song. Or in the extremely engaging finish in the Obsession Is the Mother of All (that sounds like it was Ride-inspired perhaps). But the vibes of the whole album are best summarized in Norwegian Dream - the perfectly satisfying psychedelic soup of haze, I love it.

ØR costs 7.99 EUR.

Check: Obsession Is the Mother of All

Country: Italy

Genre: noisy psychedelic rock

Label: Pelagic Records

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B r i q u e v i l l e - Quelle (2020) EN

B r i q u e v i l l e, remember about the spaces between the characters, makes another big player on the Belgian heavy music scene. No wonder that their new, third already, album was released by the irreplaceable Pelagic Records. Because Quelle is a great deal of a solid burst.

After two well-received releases, one of which was entitled like the project itself and the second simply II, the band continues the good streak with the great Quelle. And the fact that the artists create some extraordinary music is a given as "they create an instrumental mantra of spooky guitars, modified field recordings and eery sampled chants"properties of their guitar-based after all music.  It's mostly audible in the mesmerizing properties of their guitar-based after all music. It's really hard to break off of the album's opening in the eighth act and then in the next ones, each one is better than the last.

The music here is mostly guitar-oriented and instrumental. You can say it's a unique take on post-rock while being a level up from other bands in the musical scale of aggression and heaviness. Towards post-metal obviously. And then there are also fragments made to wreck your nerves in which coarse guitars draw the audience's attention even more than usually. And then again there are some backing vocals that are more dark spiritual than airy enriching the album in the twelfth act.

Quelle costs 7.99 EUR.

Check: Akte XII

Kraj: Belgia

Szufladka: mesmerizing post-metal

Label: Pelagic

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