Mother Witch – Mother Witch & Dead Water Ghosts
#Rock #occultdoom #oriental #postmetal #Sydney
CC BY (#CreativeCommons Attribution) #ccmusic
https://motherwitch.bandcamp.com/album/mother-witch-dead-water-ghosts
#postmetal
Russian Circles announce September tour with Blackwater Holylight & Young Widows
#RussianCircles #BlackwaterHolylight #YoungWidows #postmetal #postrock #rock
Ce soir ! Tonight ! Vanavond !
BELVEDEREnamur
BODY VOID + OLDD WVRMS
Aujourd'hui sur Blog à part – The Great Procession: To Another Sun
Quelque chose se passe dans le monde et les musiciens français y sont sensibles. C’est l’impression que me donne To Another Sun, de The Great Procession.
Aujourd'hui sur Blog à part –
The Great Procession: To Another Sun
Quelque chose se passe dans le monde et les musiciens français y sont sensibles. C’est l’impression que me donne To Another Sun, de The Great Procession.
Aujourd'hui sur Blog à part – The Great Procession: To Another Sun
Quelque chose se passe dans le monde et les musiciens français y sont sensibles. C’est l’impression que me donne To Another Sun, de The Great Procession.
Deafheaven announce UK/European tour with Portrayal of Guilt & Zeruel
https://metalnerd.net/deafheaven-announce-uk-european-tour-with-portrayal-of-guilt-zeruel/
#Deafheaven #PortrayalOfGuilt #Zeruel #blackgaze #shoegaze #postmetal
Album Of The Day 🎧📀😉
LOONYPARK - Sad Songs For The Upcoming Days 😎🤘🏻
Very nice art-/prog-rock-album with a great voice 👍🏻 very chilled vibe overall, a bit like Anathema or Steven Wilson playing "Evidence" by Faith No More 😅
Check out some free ARL3CCH1NO-music on various platforms... Linktree in bio 😉🤘🏻
#Venera #Singularity #synthwave #ARL3CCH1NO #Psyche #Isolation #Medication #Reconstrucdead #remix #soundtrack #postmetal #postrock #industrialmetal #triphop #nameless #loonypark #sadsongs
Demain ! Tomorrow !
Mur du son. Wall of sound.
Do not miss this show.
BELVEDEREnamur
https://www.belvedere-namur.be/zoom//45780/
!!! #AMENRA !!!
#Live at #Hellfest 2023
A video conditionally captures the power of their musical ceremony.
I know of nothing comparable, early #Neurosis developed similar power on stage.
They are a superpower live!
#music #metal #postmetal #blackmetal #alternative
youtu.be/jfONoOLwPAs?...
AMENRA Live at Hellfest 2023
Amenra - Live at Hellfest 2023.
A complete, professional live registration of one of the most special live bands in the loud segment.
Amenra giving it their all on stage, from the loudest scream to the softest drum hit, this music hits like a sledgehammer coated in velvet.
https://www.youtube.com/watch?v=jfONoOLwPAs
#BlackMetalMonday adjecent. #postHardCore #postMetal
By Owlswald
Adding to my list of bands with irregular monikers, German progressive post-metal/rock group THRÆDS (pronounced “Threads”) is the latest to fall under the scrutiny of my wide-eyed gaze. Formed in 2019 as a solo project by guitarist Angelos Tzamtzis, THRÆDS has since grown into a multi-national five-piece.1 Their 2021 Akasha EP garnered the attention of Octopus Rising—an imprint of Argonauta Records—which is now releasing their debut full-length, Impermanence. The promotional material for this Berlin-based quintet bills itself as a seamless blend of progressive post-metal alongside atmospheric rock, claiming to fuse the sounds of giants like Gojira, Tool, and Porcupine Tree into a diverse and unique style. Call me cynical, but whenever descriptions throw about such high-caliber names, the reality seldom matches the hype. And, unfortunately, THRÆDS proves to be no exception.
A pervasive sense of familiarity permeates Impermanence’s forty-eight minutes. While “Devolve” delivers a half-time L’Enfant Sauvage stomp with Gojira’s trademark pitch shifts and tracks like “Einstein-Rosen Bridge” and “Clockworks” evoke some of the moody melancholia of Porcupine Tree or Katatonia, THRÆDS ultimately leans too heavily on well-trodden modern rock crutches to convey their moods and textures. As a result, the material on Impermanence is largely standard and unremarkable, offering little in the way of presence or impact. Chuggy palm-muted guitar riffs, delay-heavy arpeggios and gallant distorted chord strumming drive Impermanence during its drawn-out instrumental sections. Celso Borralho’s vocals dither between solemn whines (“Sole Survivor”), gravelly Chester Bennington-esque frys (“Reflections”), and high, soulful croons (“Nothing Good to Say”). While these hint at Borralho’s considerable range, they generally also fall short of his full potential. Despite the self-produced effort registering a mighty DR 10 and Barnabás Mihály’s playful basslines providing some much-needed aptitude, Impermanence exhibits a vanilla disposition with little novelty or energy.
THRÆDS relies on familiar modern rock clichés to drive their songwriting. Rock anthem “Reflections,” with its big, sing-along chorus and radio-ready polish is well-composed but employs repetitive chord progressions and melodic structures a myriad of modern rock groups have used a million times over. Similarly, “Sole Survivor” and “Timeless” lack novelty with formulaic compositions that contrast quiet, delay-saturated post-rock verses with heavier down-tuned choruses filled with garden-variety guitar riffs, foundational rock beats, and cornerstone vocal belting. Borralho frequently toys between his high and low registers, sounding unassured and whiny rather than passionate and introspective as his voice warbles above the melodies. His range and high register are his greatest strengths, yet he seldom leans into them with enough conviction to improve THRÆDS’ simplistic approach. Compounding matters is the sheer length of Impermanence’s songs as “Devolve,” “Timeless,” and “Reflections” all clear six minutes while closer “Story in Reverse” pushes eight, primarily to accommodate Alegros Gramma’s sax solo. Even the shorter “Einstein-Rosen Bridge” contributes to Impermanence’s sense of bloat, stretching thin ideas into wandering Maserati-like post-rock.
Predictably, Impermanence’s stronger moments appear when THRÆDS trim the fat and venture outside of well-trodden tropes. A prime example is the solemn “Nothing Good to Say,” where the quintet crafts a condensed, cohesive, and engaging offering with Borralho’s high, soulful croons floating above playful drum and bass grooves, all enveloped by an eerie, atmospheric feel. Mihály’s bass performance is noteworthy, driving a deep pocket with his rhythmic pulses while capably utilizing space with high-scale runs that explore the full range of his fretboard. Likewise, the chorus in “Story in Reverse” and the verse in “Einstein-Rosen Bridge” point to a more favorable stylistic direction, as THRÆDS momentarily recalls the grunge-saturated sounds of Alice in Chains amid stretches of otherwise tedious material.
From start to finish, Impermanence struggles to find its footing, delivering an unremarkable collection of songs that is more often bland and forgettable than original and engaging. Displaying brief flashes of promise, THRÆDS defaults to the comfort of well-worn rock sounds, resulting in an overly long debut that lacks the confidence one would expect from a group aspiring to stand alongside the giants it name-drops. Ultimately, Impermanence rings hollow, forcing progressive and post-metal fans to look elsewhere for novelty and imagination.
Rating: Disappointing
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Argonauta Records
Websites: thraeds.bandcamp.com | facebook.com/threads.project | instagram.com/thraeds.band/
Releases Worldwide: June 6, 2025
#20 #2025 #AliceInChains #ArgonautaRecords #GermanMetal #Gojira #HardRock #impermanence #Jun25 #Katatonia #Maserati #MelodicMetal #OctopusRisingRecords #PorcupineTree #PostMetal #ProgressiveRock #Review #Reviews #Rock #THRÆDS #Tool
Ce jeudi !
BODY VOID (US) + OLDD WVRMS (BE) | Belvédère
https://www.belvedere-namur.be/agenda/
#postmetal #doom #concert #namur #live
So this works better than expected 🤩👍🏻there's a big chance that this is the final live setup... 😉🤘🏻
Check out "Venera - Singularity" on:
www.veneraband.bandcamp.com
... and some free ARL3CCH1NO-music on various platforms 😏:
www.linktr.ee/ARL3CCH1NO
#Venera #Singularity #synthwave #ARL3CCH1NO #Psyche #Isolation #Medication #Reconstrucdead #remix #soundtrack #postmetal #postrock #industrialmetal #triphop #nameless
SLUGWEED (Estats Units) presenta nou EP: "Summit" #Slugweed #Stoner #Sludge #DoomMetal #PostMetal #Juny2025 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic
By Killjoy
Despite the importance that many metal and rock subgenres place on instrumentation, music without vocals often proves a tough nut to crack. Without the inherent structure that generally comes from writing vocal lines or the unique individuality of a human voice, it’s difficult to grab—much less keep—a listener’s attention. Still, that doesn’t stop a multitude of artists from reaching for a slice of the wordless glory. The latest of these is Hiroe, a newcomer post-rock group from Philadelphia, Pennsylvania, releasing their debut full-length Wield (following an EP, Wrought, in 2022). With promotional material describing a diverse, expansive, and epic writing approach, Hiroe is poised to offer a maximalist take on a traditionally minimalist genre.
Wield is indeed diverse, containing many of the various touchstones under the expansive post-rock umbrella. As is typical of instrumental acts, Hiroe principally relies on a three-pronged guitar alliance (Eric Kusanagi, Brian Kong, and Jill Paslier) to construct and embellish the music. On the one hand are serene, luscious melodies designed to ruffle the heartstrings similarly to pg.lost or Caspian. On the other hand are dense post-metal guitar clusters favored by Pelican and Isis. But somewhere in the middle of these two extremes, they reveal progressive inclinations, which is where bassist Jon Seiler and drummer Dan Sagherian shine the most, their knotty rhythms adding depth and complexity.
Hiroe seems indecisive about targeting the heart or the head and misses both. Not completely, of course, and Wield does start off promisingly. “The Calm” opens with a gorgeous, glassy melody that artfully evokes feelings of eagerness as it accumulates layer after layer. But soon these hopes are quite literally crushed by the thick, slow wall of post-metal guitar chords of “Tides.” The wall eventually cracks open and a ringing guitar lead spills forth, but Wield never properly follows through on the lush beauty teed up in the intro track or evokes much of an emotional response from me. Attempts at intellectual stimulation don’t often connect either. “Collider” is the most promising from a technical standpoint, opening with an intricate, swirling guitar melody that dazzles at first but tends to overpower the other instruments as it reoccurs. It rarely feels like the three guitarists and the bassist fully realize the rich, multilayered compositions for which Hiroe is aiming.
However, what most impedes Wield is an imbalance between repetition and progression. Disappointingly, in this regard, Wield is heavily weighted towards the former. There are some genuinely compelling melodies, but they tend to span too many minutes. The record is composed of only six tracks, all of which (save for the intro) are at least seven minutes long, and none warrant their lengthy runtime. To keep things moving along, the more homogeneous songs should have been shortened (“I’ve Been Waiting for You All My Life,” “Dancing at the End of the World”), whereas “Collider” could have been cleanly split into two separate songs. The back half of the album feels particularly listless, the exception being the fuzzy and chunky guitar distortion of “The Crush,” but, again, each passage lingers too long. It may appear unfair or even antithetical to criticize post-rock for repetition, but for a free-form instrumental variation to transcend background music, each individual passage must foster a natural continuity with the next without overstaying its welcome.
Ultimately, Wield proved to be a frustrating experience. I enjoy much of the music during a given moment, but it rarely feels like the constituent elements come together in a satisfying way. Though I can appreciate Hiroe’s attempt to expand the horizons of post-rock and post-metal, this repetitive long-form songwriting strategy is not working for me. Despite the overall tone of this review, I don’t actually dislike Wield, but I’m simply unmoved. That said, die-hard fans of the genre may well find more to enjoy than I did. Each member of Hiroe is a talented musician, and they’ll likely be a force to be reckoned with after maturing as composers.
Rating: 2.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Pelagic Records
Websites: hiroe.bandcamp.com | hiroemusic.com | facebook.com/hiroemusic
Releases Worldwide: June 20th, 2025
#20 #2025 #AmericanMetal #Caspian #Hiroe #InstrumentalMetal #Isis #Jun25 #PelagicRecords #Pelican #pgLost #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Wield
newstuff2025-25
First artists for Sonic Rites '26 have just been made public: Wolfbrigade (SWE), Discharge (GBR), Sumea (FIN), Vainoa (FIN).
#SonicRitesFest #sonicrites #festival #sludge #doommetal #postmetal #industrial #punk #alternative #music #helsinki #Finland
Summer in the city... nice 🤩
ARL3CCH1NO-music on various platforms... Linktree in bio 😉🤘🏻
#Venera #Singularity #synthwave #ARL3CCH1NO #Psyche #Isolation #Medication #Reconstrucdead #remix #soundtrack #postmetal #postrock #industrialmetal #triphop #nameless #summer #cafekosmos #munich
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Server: https://mastodon.social
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