post rock

Empty Colors is an album released by French Post Rock act Fall of Messiah. Despite the fact that the record was released more than two years ago, it certainly deserves an honest and profound evaluation, since reveals itself a modest, but sensible work of art, although its musical agenda follows the traditional formula of the genre. With an energetic symmetry whose beautiful, but at the same time discreet and imponderable harmonies overexposes the joy of its continuous, sagacious and vividly tempestuous melodies, Empty Colors is a delicate, but pungent sequence of sincere symphonies of ardent splendor, that gracefully evaluates the colorful abilities of a creativity that works heavily over the boundaries of the genre, without disqualifying not distorting its most recognizable features. 

With a correlated and passive calmness that standardizes a joyful conjuncture of pleasant harmonies under subtly pertinent circumstances, Empty Colors is a very simple, but thrilling album. Very concise – only twenty eight minutes long –, the record has seven tracks:  Monochromic Synesthesia, The Grey Heart Blues, Blue ruin, I always thought that one day everything would be settled, but everything just went black, Alors on en est là, à pisser sur du cuivre..., Rust and Vert-de-gris. Its brevity rejoices at the generous, but tempestuous wave of a confluent mobile objectivity, whose purpose deflagrates over the waves of its ardently ceremonial intonations the glorifying splendor of a calm, serene and everlasting sensitive ordeal. 

The album does have some degree of predictability over the course of its run, but, nonetheless, it’s greatly appreciable and formidably well executed; at the peak of its more abstract moments, it is possible to feel the rapture of its graceful, but warmly diluted singularity. A delicate, measurable, exceedingly pleasant work of vigorous authenticity, Empty Colors presents to its audience simply the best qualities post rock has to offer, in a genuine, refined, unpretentious and competent creative scope, whose incredibly simple, but high standards are sufficient to evoke the marvelous placidity of its surreal grace. 


Wagner

doom / post metal

metal / hardcore

psychedelic rock / doom

psychedelic / doom

shoegaze / dream pop

shoegaze

post punk / new wave

alternative rock / shoegaze

neofolk

experimental / ambient / noise

Unexplained Sounds

ambient / noise / experimental

bandcamp

dark ambient / drone

bandcamp

ambient / electronic

death metal

black metal

Serge

post rock / doom / shoegaze

The last three reviews I wrote described music from acts that have been featured on Merchants Of Air before. Since 2014, heaps of acts have been present on these pages and quite often bands seem to return. Somehow that makes me feel proud of what we have accomplished here. It's great fun to see these bands come back even better than before. French act Ddent is number four in that list. I reviewed their album 'آكتئاب' about a year ago (read) and now they reveal the next chapter in their musical adventures. Again this shows a band that has been growing, maturing, something I can only applaud, obviously.

The music on 'Toro' is rather similar to 'آكتئاب'. Once again Ddent treats the listener to an impressive blend of doom, post rock, shoegaze and (post) black metal. Once again they play with mesmerizing riffs and tonnes of atmosphere. There are seven tracks to be found, pretty much all of them are highlights in their own right. 'Dis à la lune qu'elle vienne' is probably one of my favorites, a highly immersive piece of post rock that would undoubtedly be a show-highlight as well. Then again, I surely believe most of these tunes are show-highlighs.

'Torse De Marbre' is another one of my favorites. I absolutely love the percussion performance in this track. That's the thing with Ddent: they always seem to go that extra mile. They always seem to add that little extra that makes them stand out in an overcrowded post-rock/metal scene. At the end of my previous review for these Parisians I mentioned that 2017 was going to be an awesome year for music. Well, 2018 is heading into the same direction and I couldn't be more pleased about it.

Another masterpiece is 'La Pluie Emplit Sa Bouche', which gradually evolves from dark ambient to atmospheric doom metal to something every metalhead can bang his skull to. Apparently many non-metalheads too. My wife is headbanging right now, how cool is that? Anyhow, this is a brilliant album, one I will gladly recommend to all my slow music friends. Ddent have clearly evolved which is always a good thing. They were great already but now they are slowly entering my top-20 list. 


​Serge

post rock / post metal

Right, in between my household tasks, it's time to do what I intended to this week: write at least one review a day. In this particular situation, that not only means a change of scenery (from kitchen to living room) but also a change of sound. Right before this EP started playing, acts like Shaolin Wooden Men, Hallucinogen and Planetary Assault System had been blasting their electronic beats through my speakers. Now it's time for something different, courtesy of Swiss five piece Darius. And when I say different, I mean "completely and utterly" different. This is probably what would happen if Melvins and Russian Circles enter a studio to record a Black Sabbath tribute.

Or maybe not.

This EP is the follow-up to their 2015 album 'Grain'. It contains four tracks. In these tracks, Darius shows a rough version of post rock and post metal. That roughness seems to be inspired by noise rock acts and it really sets Darius apart from many other post-whatever bands. Opener 'Glaucal' is a perfect example of that. A bit chaotic, a bit uneasy but rocking like hell. 'Charlotte' is my personal favorite. It contains the same roughness but also manages to capture the immersive atmosphere for which we all love post rock so much. This is a narrative piece of music in which heavy riffing and dreamy passages alternate.

'Pipistolet' is a short but intense riff based groover and mainly functions as a bridge between 'Charlotte' and 'Trace'. You can bang your head to this little thing, which I guess is awesome. Eventually, 'Trace' once again drags the listener along sonic and epic musical landscapes. It's an excellent competitor for 'Charlotte', thriving on basically the same elements. Together, they're definitely worth your attention. If you are into bands like Jakob, Pelican and Bossk, you should give this one a try. You won't regret it.


​Serge

alternative rock

Glauber

drone / experimental

Abjection Productions

Glauber

alternative rock / shoegaze

folk rock / americana

website

metal / post hardcore

post metal

progressive metal

downtempo / electronic

Audiobulb

death metal

doom metal / dark metal / death metal

thrash / death metal

techno

post rock / post metal

It's Sunday. A big part of Belgium is covered in snow. Gulls seem to have the time of their lives, flying around with no apparent reason. People walk slowly, careful. Somebody on a bicycle is having trouble not to slip and fall and an old lady can't wait for her dog to poo so she can go inside again. 

Belgians are not prepared for snow, even a thin sheet causes accidents, traffic jams and continuous whining about how cold it is. So for me, it feels like a perfect day to stay inside and enjoy the brand new album by All We Expected, their debut full-length which has been released this very day. 

People from in and around Belgium will probably know All We Expected. With their heavy yet immersive blend of post rock and post metal these Izegem residents have been mesmerizing audiences at Dunk! festivals and a wide variety of stages in this country for quite some time now. On their full-length, 'Hatàr', they deliver five brand new tracks, including the massive, twelve minutes lasting closer 'Conquered, We Conquer'. The others are a bit shorter but nonetheless amazing pieces of post-you-name-it.

From the get-go, All We Expected come up with the distorted guitars and heavy drums. Opener 'Abano' is already a highlight. It's a vintage All We Expected track, immediately showcasing their talents. 'Feudal' follows its predecessor's example. I can already see these guys deliver these tunes with great "bravoure" on an upcoming edition of Dunk!, or again, any other stage in or near Belgium. Personally, I adore the narrative nature of the music. These are stories, told with guitars, drums and a load of effect pedals.

'Nomad' feels a bit like the obligatory ballad. It's calmer, at least for a while, but it still contains these immersive post rock passages we all love so much. And suddenly I realize something. I have seen these guys live. I have heard their music before and I have always like them. Yet, somehow it only now strikes me how good All We Expected actually are. This is top-notch post-metal, something all fans of Russian Circles and Cult Of Luna should add to their collection. Just listen to a masterpiece like 'Shortlived' and you'll know what I mean. Definitely recommended!!!


​Serge

grindcore / crust

psychedelic rock / blues / stoner

post rock

An effervescing idiosyncrasy of starving, but calm and levitating melodies swears to an infinite ocean of time a formidable conflagration of creative harmonious contingencies. The sound is beyond exceptional, and everything that revolves around your ears bears the scope of an infinite storm of peaceful eternity.

​With precise and overly diluted, but poetic guitar lines, ​Three Horizons Away is an imaginative and surreal glorious panorama of exponential beauty. Despite its brevity, the sonorous sincerity expanded through the brave, but serene vastness of splendorous rhythms redirects the soul through a journey of ascendant and pure reality. The continual universe promulgated by its linear and constant propulsion of peripheral sounds exhibits the greatness of it’s fantastic, but discreet style, as a different pattern of sensibility.  

post rock

A full, energizing and pure post rock work, with profoundly melancholic, but genuinely organic sonorous vicissitudes, upon which formidable and lucid guitar lines comprehend the painful vicinities of incisive and latent harmonies, that revolves around a mysteriously ancient, but poetic silence. A monumental transformation of conscience reveals itself at the grandiloquent axis of serene melodies, that not only impress by the brutal honesty and sincerity of its audacious beauty, but also by the infallible ordination of its salutary sonorous manifestation, that opens an omniscient pattern of authentic intuitive creative algorithms over the impatience of its notes. With a striking, but overwhelming simplicity, the sensitive calmness of this work is a delightful experience, that makes this brief, but majestic masterpiece a glorious necessity for all enthusiasts of the genre. Leviathan is definitely a precious and marvelous state of the art work, highly recommended.  

post rock

A brief, but poetic immersion towards a recrudescing world of ethereal conflagration, Lift Off ably leads the listener towards a more introspective and interior version of himself. A calm, serene and minimalistic quasi-operatic work that derives the essence of its intrinsic value through the vastness of its sincere and genuine sonorous evaluation, this EP by Man Against Mankind is a rude, but decisive filtration of translucent harmonies eager to revolve around the undermining capacities of reality, determined to descend over a spirit of pure sensibility. With seriously experimental overtones, the audacity of the musician’s style is an experience that reflects the authentic rapture of his creative spirit. With plausible sonorous features that expand the antagonistic principles of its abundant qualities without renouncing the splendor of a glamorous simplicity, Man Against Mankind deserves to be comprehensively inserted in a more singular musical category, given the fact that its aura of original sensibility is  highlighted by the fantasy of harmonies impossible to forget. 

black metal

An interesting EP, with a full atmospheric layer of enormous grandiosity, the hazardous and afflictive anxiety that comes out from the imperial harmonies of this grotesquely delightful sound replicates with precision the endemic agony and the intense features that characterize the genre, and its sinister overtones. With a somber expectation that announces  an imminent conflagration of unraveling proportions, the melodies that strikes the tissue of infinite possibilities simply reaches a level of splendor that eagerly evolves to a planetary dissension. Perfect as the soundtrack of a really macabre movie, Ice-Cold Souls drives at the core of its majestic opportunities the real lancinating devices exceedingly genuine to the genre. Undoubtedly, it’s a marvelous example of how graceful, dense, subtle and evasive the tempestuous sonorous tissue of atmospheric black metal should be.       

black metal / death metal

A majestic and very powerful metal work, with traditional elements brilliantly inserted at the core of the songs, If it is True What the Prophets Write is an elemental journey through the most sincere qualities of an intriguing style, that seems somewhat crossover.

​Despite some moments of more generic harmonies, the group displays an intelligent and passionate singular style, that interestingly revives at the heart of its vibrant molecules an amalgamated version of metal. The human virulence of death metal intertwines the efficiency of its brutal coalescence with the furious fastness of black metal, in a sidereal conflagration of melodies, that exhibits fatally hostile harmonies, also abundant in sensible thrash metal intensities. Definitely a memorable work, If it is True What the Prophets Write is a curious and refreshing EP, that deserves to be highlighted at the center of the underground scene. 

indie / psychedelic / alternative

electronic / downtempo 

crust / grindcore

Fucking shitfuck, did I just become a crust/grindcore fan or what? I mean, I wanted to add this album to Brieviews because quite usually these albums are rather one-sided and there is just not much to write about them. I also wanted to promote these guys because they're from Antwerp. But when I started to play 'Barbarians', I was in shock. Here was a perfect industrial sounding crust punk tune blasting through my speakers. Fast, delirious, harsh and intense, just what we need. So I continued listening. 'The Violent Way' is another of my favorites. These guys have just turned crust and grindcore in one of the most immersive pieces of extreme music I've ever heard.

I mean. I know some of these guys. I often see them at gigs but I have never talked to anyone of them and now they present me with one of the most impressive albums in Antwerp (and the world, or as we say "the parking lot") today.  Fuck yeah this comes highly recommended. 

grindcore

Whooaaarg

post metal / drone

post metal

To be released on November 10, Örvény is an album by Hungarian post metal group Perihelion. With seven tracks – Kihalt égi Folyosók, Bolyongó, Fényt!, Örvény, Romokon, Ébredő Táj and Bardó – the sound of the group is thoroughly energizing, powerfully dynamic and creatively intriguing. With a very solid proposal, committed to a high degree of effervescent and vivacious harmonies, Örvény is an almost perfect state of the art work, that excels in the sonorous shape and form of its art. With lucid melodies, and a very poetic overlook, Perihelion really has created a thoroughly aggrandizing and genuine album, that certainly shall please the most ardent enthusiasts of underground post metal. 

With mature harmonies, that evolves from a serene and precise path of colorful and pretty humane intonations, and a translucent visionary sense of harmonies that reverberates the fundamental precepts of reason, Örvény has a very scientific and intrinsic structural ordination, where it is possible to feel the integrity of the soul of the melodies, behind the pure anatomy of a strikingly beautiful sonorous creativity.

While the album follows a somewhat ordinary musical prospect to a certain degree, there is a profound level of authenticity enthralled into the music. With a passionate energy that communicates itself easily with its audience, Örvény creates a delicate, serene and introspective sonorous universe into the widest spheres of the human mind, while being exceedingly extravagant, furious and hugely objective at the same time. With sensibility and elegance, they manage to open the invisible doors of the heart. In another words, there is a delicate and profoundly subtle strength seriously injected into the dense atmosphere of their highest musical principles. 

A great work that certainly honors the genre, by reinventing all the possible layers of its majestic beauty, Örvény is a magnificent and fascinating album, that certainly will be taken as the first stage for an evolutionary principle into the genre.  


Wagner