“Flow is one of the hardest elements of songwriting to capture. It’s a combination of the fluid transition between song sections as well as a product of the interplay between rhythm and melody that creates a cascading feeling, and it often hides in the smallest details. I’d also argue it is one of the most important emergent properties of post-rock and post-metal, particularly the instrumental type. The illusion of being dragged along a river is among the genre’s most significant qualities. Ghosts of Glaciers is an instrumental post-metal band, set to release their third record of the decade, and their first since signing to Translation Loss. They are up against some stiff competition this year, including Russian Circles and Cult of Luna. Have they mastered the art of the flow, or is the river all dammed up with nowhere to go?” When the levee breaks.
Cult of Luna
aswekeepsearching – Rooh Review
“You ardent readers may not agree, but it can be tough on one’s aural organs to blast metal for hours upon hours each and every day. That’s because in our tiny cubicles we don’t often get to crank the albums we love; we have to play the ones we’re reviewing. And after blasting my assignments from Cult of Luna and Monolord a combined twenty-seven times this month, my weeping ears needed a break. Something peaceful, serene, and calming. And since I wasn’t (un)lucky enough to be tabbed for In Cauda Venenum, I settled on what I hoped would be a sweet little morsel of post-rock: Rooh, the third album from Indian post-rock outfit aswekeepsearching.” Vacation for the ears.
Cult of Luna – A Dawn to Fear Review
“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.
Angry Metal Primer – Borknagar and Cult of Luna
“In which we waste your time always searching for those blunder years.”
The Holeum – Sublime Emptiness Review
“One of the only neat things about this angry metal gig is how you can select an album to review and within a spin or two have a pretty good guess as to which of these other cretins will enjoy said album. Today I present to you The Holeum’s somber sophomore escapade, Sublime Emptiness, with the strong suspicion that our silverbackedest scribe will scoff this stuff up.”Embrace the hollow.
Glare of the Sun – Theia Review
“This site has introduced me to countless gems that have captivated me and permanently improved my life in inimitable ways, yet even my most heartfelt exercises in overrating have failed to yield ‘that’ album unto me… until now. With Theia, the sophomore full-length from Austria’s Glare of the Sun, I have found completion, something that fills my Muppet void in ways that would make Ron Jeremy blush.” Sun worshiping.
John, the Void – III – Adversa Review
“During the Great N00b Off, I told myself that, should I one day be given unchaperoned access to the promo bin, I absolutely would not choose a band purely on the basis of its name. I would do my research and make an informed decision. So, following my first foray into the promo bin sans Steel Druhm, take a bow John, the Void, a band I chose purely for its name.” What’s in a name?
Degraey – Reveries Review
“One of my greatest musical regrets is missing an opportunity to see Isis perform shortly before they disbanded. They were the band that got me into the heavier, harsher-vocalled side of metal, and remain one of my all-time favorite bands. Fortunately, given their position as genre-definers for post-metal, there are no shortage of imitators out there to scratch the itch. Degraey are an independent Spanish band, here with their second album following 2016’s Chrysalis, and the briefest of listens to Reveries reveals they’re card-carrying members of the “We Miss Isis” club.” Gone but not forgotten.
Raum Kingdom – Everything & Nothing Review
“When post-metal is done right it’s so mothersludgin’ right. It gets a bad rap from some for its lack of definable riffs, pretentiousness, and bloated structures, but it’s one of those styles that can grip and shake your core like no other. It’s a patient, reflective, solitary sub-genre that does require a certain state of mind for the juice of an album to be extracted. Sometimes you’ll be met with a thick wall of repetitiveness that cannot be penetrated, other times with a sloppy mush of watery crescendos and vocals. Sometimes, though, you’ll encounter a beast of an album that throbs with the force of a membranous world-eater, an oozing, atmosphere-drenched annihilator that secretes a vitriolic self-loathing power into your mind as you listen.” Celtic rage.
Longhouse – II: Vanishing Review
“It’s worth remembering that the past shapes the future and every story has a takeaway, be it uplifting or perhaps more sobering. As the creative genius behind Longhouse, Joshua Cayer, uses a mixture of doom, sludge and post-metal to recount stories of the Algonquin First Nations and more specifically, of his family’s community, the Kitigan Zibi. Situated in Maniwaki, a town developed on land that once belonged to the Kitigan Zibi Reserve, Longhouse focuses on Quebec, though they hail from Ottawa, Canada.” Blackened roots.