“DDENT is a French post-metal group from Paris, formed in 2013 and having released two full-lengths and an EP. Sporting a Pelican or Omega Massif vocal-less style, complete with post-rock dynamics, pummeling sludgy riffs, and a stunning sense of beauty within its uncompromising sound.” Post posts.
“He’s a happy dude that makes everyone around him happy. Case in point: at a Neurosis show in Phoenix, I became so enamored with opening act Amenra that nothing existed around me but dark, depressive death. Then I felt the nudge and looked over at the smiling face of Mr. Ocell. One second, I wanted to die. The next, I wanted to give the little guy a noogie. But how can a guy as happy as Shane write music as dark and heavy as that of Via Vengeance? I haven’t a clue, but that’s what he does.” Beware the smiling man.
“This summer saw a couple of top-notch releases from instrumental post-metal vets Russian Circles and Pelican. Both albums were worthy entries in the genre, but we should consider them appetizers, or warm-up acts, because one of the heavy hitters just walked in, and they have something to say.” Drink this Kool-Aid.
“Never, however, have I wished that someone take your average British motorway as musical inspiration. In complete disregard of my wishes, Bristol, UK band The Road have done just that. On this, their self-released debut, Reverence Redacted, the Bristolian two-piece draw on the “crushing oppressiveness of the British motorway experience”—personally, I would say “soul-crushing oppressiveness”—to inspire their post-doom offering.” Trapped on the highway to Hell.
“As always, Wovenhand were on a blinder and played a great show but their co-headliners, then completely unknown to me, blew me away. They were Chicago natives Russian Circles. I can’t now remember whether Wovenhand or Russian Circles played first but it doesn’t matter because, whichever way round it was, this was Circles’ night. This three-piece, playing expansive, heavy instrumental metal, held the Scala in the palms of their hands that night.” From Russia with blood.
“I have a soft spot for this band: they went through hell back in 2010 when, as The Great Tyrant, their bass player committed suicide. The remaining duo carried on as Pinkish Black, a morbid reminder of the color of the bathroom where Tommy Atkins killed himself. 2015’s Bottom of the Morning was their strongest release, a haunting, propulsive, cathartic album where all of the duo’s ideas meshed beautifully. How will they follow that?” Cinema metal.
“I suppose I’m a fan of the Chicago post-metal scene: I’ve got plenty of Pelican and Russian Circles albums, and was lucky enough to see the latter live last year (which, when you live where I do, is a minor miracle). Pelican haven’t been on the same trajectory as their cousins, though, but it’s not completely their fault. Life gets in the way sometimes, and many things happened to these guys since their last full-length, 2013’s Forever Becoming. The biggest catalyst for the writing of Nighttime Stories was the death of Tusk vocalist Jody Minnoch in 2014.” Darkness as catalyst.
“With their debut, they rather awkwardly tried to shoe-horn the patient, meandering post-metal aesthetic with the fury and immediacy of black metal, to mixed results. Now they’re back with a new concoction: think of a base consisting of the atmosphere of Agalloch, topped with some post-metal Pelican, drizzled with the tortured vocals of Grift or Sivyj Yar, sprinkled with a dash of Deafheaven. The question is, have they created something palatable? Do we have a winner (like chocolate and salt) or an inedible monstrosity (like pineapple and pizza)?” Buffet of melancholy.
“A Voluntary Lack of Wisdom is smothered in a dense layer of fuzz. But not the delicious tickle of a soft blanket, this is a bed of post-doom fiberglass. Italian three-piece metallers Loimann release this—their third full length—touting it as being more in your face and featuring less complex songwriting than prior efforts. Formed in 2001, it seems a change of direction was in order for this album. Keyboards have been dropped altogether and the harsh vocal quotient has been increased in an effort to provide a more extreme overall result.” Fiberglass-core.
“Long Distance Calling is the best instrumental metal band you’ve never heard of. Formed in 2006, this German quartet first came to my attention when I discovered 2007 debut Satellite Bay last year, an album that went perfectly with my lonely drives along the sparkling New England coastline.” Accept the charges.
