Old Soul - Tidal Lock (2013)

Full Length, IFB / Dog Knights Productions / Dingleberry Records / Listen to Aylin
April, 2013

Genre: Blackened Hardcore/Post-Rock/Post-Hardcore
Region: USA

Coming off of that recent post about Old Soul's 2012 record, I've been given the pleasure of hearing and reviewing the new Old Soul record a few weeks prior to official release and all that. Took a little longer to write up due to other priorities getting in the way but here it is. There's no download link right now, however like their prior releases this will have a physical release and be made a free download to the public at some point soon. So hold on for now if you're eager.

Tidal Lock sees Old Soul further shaping their sound and progressing quite a bit from their previous record, while bringing back some elements that were stronger in their debut Natures Arms Encircle All; mainly the tranquil post-rock atmospherics which grasp this release firmly and made a bigger appearance in that record. Lots of reverb and delay among other effects in those long passages sometimes like near the close of the opener "Ghost/Incomplete" they're sustained and take on a shamanistic luster as notes are carefully placed around the whirring loops. Outside of these glimmering passages the scratchy swollen tone of the guitar is a big contrast once again carrying over from their sophomore, varied drumming keeping up with the wide swings in style, and a great bass presence especially when those quiet stretches start to ramp up ("Watermouth/Mirage").
 
All four tracks here (which flow as one long song in reality) reach between eight and ten minutes in length, a huge contrast to the four and six minute jaunts in Who Are Willing To Draw Close and further proof of a commitment to change at least in structure on first observation. The production is smooth, clear, warm; feeling much bulkier than Who Are Willing To Draw Close and lending a little juice to the all it's qualities. Only complaint here is for instance in the secong track around six minutes in, where there's a transition from quiet to loud the guitars feel a little dampened initially; this could just be me as I only notice it in that spot. Lyrically as one would expect this record does have a temporal focus, metaphoric, taking a reflective or introspective approach but largely up for individual interpretation; sometimes these are spoken ("Ethereal/Faultless") while usually in all other moments the blackened rasps dominate.

When listening the blackened post-hardcore/screamo characteristics still reside in their formula but are less bursts and more Krallice-esque in execution: long blazing passages blurring post-hardcore June Paik aggression with uneasy/anxious black metal melodies interspersed conservatively. Between these lies moments that resemble traditional screamo like Mahria but the twinkling nostalgia doesn't last long. You can hear this from the outset. These are enclosed in the vibrant ambient and post-rock drifting, both clean and acoustic, sometimes minimalistic but usually energetic builds. These moments have Tidal Lock coming very close to the eclectic style of Irepress even moreso than I thought, and yet every time they do rub up close they make a drastic shift, usually launching the song into an aggressive fit.

While they effortlessly float between each other each of the four tracks. "Ghost/Incomplete" and "Watermouth/Mirage", while separated, flow as one track linked by a gleaming clean section and provide a great example of the above. Broken up by flurries of proggy black metal mixed with screamo but far less densely packed than in their previous records. The former track is evenly broken up between their black skramz attack and meditative   while the latter dabbles more in Irepress-esque quietus with only brief, more laid back post-hardcore blinks; rhythms more restrained but still strong, leading the track out of the haze nicely.

"Paradigm/Pendulum" picks up and quickly descends into progressive black metal territory only to melt into a pretty clean section which gets increasingly proggy and loud and busy before diving into a tranquility. For the first four or so minutes I would swear this is a less complex Irepress track. The build on this track has both channels evolving sounds gradually. The return to distortion is very stealthy only occuring near the end and giving way to a wobbly ethereal section.

Interestingly enough this leads into the aptly titled final track "Ethereal/Faultless" — arguably the slowest on the record Old Soul close with a more depressive or reflective tone, even when they embrace the distortion it's very mournful. The screams come back in full force by around the eight minute mark and while still less chaotic the blackened brew here opening up to a spoken word passage with some nice bass work and percussion which fades, leaving only the words.

Old Soul's newest record is more grand and less dirty than previous material, a relatively refined and different experience from them. I think I like Who Are Willing To Draw Close a bit more at this point mainly due to the length and blend of sounds. I'm definitely finding on repeat listens I'm enjoying Tidal Lock more than I originally did, it's only the shift of emphasis away from more chaotic blackened aggression that I enjoy more on the former. For instance the closing riffs and rhythms on "Crater" (and it's atmosphere in the close) or the explosive climaxes after silence in "Forest" which ascend impressively. For whatever reason those moments trigger a more visceral nostalgia-tinged satisfaction within me.

Having said that I am enjoying what these guys have done with their sound since then and their continued willingness to break from comfort. It's something to commend. I recommend those of you who like their blackened post-whatever-core to be a little more exploratory, perhaps those of you who enjoy June Paik, Irepress, and Tesa should get into Tidal Lock.

This will soon be released by IFB, Dog Knights Productions, Dingleberry Records, or Listen to Aylin Records in the very near future and will most likely be available in distros and labels like Halo of Flies and Scream//Writhe. Follow their blog and facebook for more info on that. Eventually a link will be posted too but for now you may stream it on Dog Knights Productions' bandcamp:

Tesa - IV (2012)

Full Length, OSK Records
October, 2012

Genre: Atmospheric Sludge/Post-Metal
Region: Latvia

Tesa is a unique entity in the post-metal and sludge arena. The Latvian group (specifically on HeartBeatsFromTheSky) managed to create a magnificent blend of sludge and post-rock that flowed smoothly between and intertwined genres, touching beautiful, shimmering and melancholic cleans drenched in a multitude of effects before flattening the listener with jagged swaths of heaviness with a very subtle hardcore undercurrent.

They did this within the span of a half-hour. The loud peaks were intoxicating while the quiet valleys were haunting and serene — making use of effect pedals with great expertise so as to not make it an exercise in tedium, complimenting the tremendous writing. HeartBeatsFromTheSky exists in the space between multiple genres and remains one of my favorite records in the last decade, soaring celestial beauty every minute of its length. Complex and yet so simple, exploding vividly and looping back on itself in the final moments to the opening tremolo riff creating a journey you're compelled to revisit over and over. I plan on giving it a proper review pretty soon in fact.

That record came out in 2008 and I've both longed for and feared the emergence of their next effort. Tesa are a quiet band. They tour a lot but they don't let much slip until the final weeks of any sort of news. My fears lay in the fact that while they're obviously beyond musically competent, and have grown by leaps since their first EP, I couldn't see much rising above HBFTS in their catalog; let alone comparing with it. Despite that nagging doubt I've been eagerly waiting for something new and here it is presented as the simply titled record IV.

IV is practically the same length as HBFTS but containing only three songs. However, much like HBFTS, each song blends into the next so as to create the illusion of one 35 minute track. The big question is does it top or even stand strong with that record? And on the first couple of listens I have to say it falls just short of HBFTS, taking a more minimalistic approach at times (but not by much) with more emphasis on long atmospheric builds; builds which do not reach the same quaking, unearthly conclusions of their previous work but remain pretty, atmospheric and heavy both all at once and then separately.

IV is not a disappointment despite having said this. While there's nothing as inebriating as the final moments of their last record even with terrific climbs here it still touches on sounds that not many other bands do. The record undeniably has some crushing riffs and rhythms with excellent drumming and deep bass. Refined and backed by once again strong writing it shows that they bring a truly unique heaviness in their approach, if slightly augmented from their last entry.

The first and second tracks are more reminiscent of their previous creations. "I" opens with distorted heavy riffs before quickly jumping into mid-paced rhythms — switching off between this and a slow-down to crush you. Much simpler or straight-forward without the emphasis on effects to twinkle up the quiet moments which soon approach.

The drop out comes suddenly and slides back up following the rising tom hits, and we return to an aberration of the opening rhythm for a time, slightly faster. This is the halfway marker where things start to resemble the quiet beauty of HBFTS, as the towering cleans on several guitars gently guide us toward the end: one wailing in the right channel behind cycling noise, soft crashing cymbals and the fragile chords of the second guitar. The final minute things get louder while the sustain whining driven by effects remains, and the song ends as static grows until all is quiet — announcing the second track.

"II" picks up so softly, with ghost chords and notes reverberating as a far off buzz of an organ or synth fade up and down behind them. It reminds me not only of some of the final tracks in HBFTS but also of Braveyoung's We Are Lonely Animals in its minimalistic, spectral ebbs and emphasis on clean, reverberating strokes. It is captivating in its calm atmosphere like a placid lake early in the morning, and eventually as ripples form from the surface being breached things become more powerfully heavy.

As we approach the mid-point the song changes direction, back to the crunch of sludge while the one channel holds a beautiful tremolo melody alongside the crushing blows. This is what Tesa does extremely well and it's sustained the remainder of this song, growing more distorted, loud and saturated in static as the melody and heaviness play out. This is a point where we see Tesa can still bring about a monumental climax but just through a different formula. It hits a peak and holds as the cymbals explode, winding down in the final seconds to break the barrier of the last track.

The final 18 minute song is a (at first) very quiet experience and then transforms into a noisy, slow, and heavy expedition. With the length of this track I was concerned because I know Tesa to have kept their writing tight in the past with shorter songs filled with excellent turns and complexity cloaked in a deceptive simplicity. They know how to progress while keeping things from getting out of control, with a perfect segue ending to open the next track.

My worries are quickly dissuaded though as they keep their strong style of writing intact here, and nothing becomes masturbatory or too drawn out for me. Very well controlled and flows smoothly without tiring. Opening with sustained buzzing synth which carriers over from the last song, this one is largely clean and takes a similar approach as the last song: tranquil, creeping elegance but with a constant electric drone behind the slow and quiet bends and plucks.

As the toms begin, ramping up alongside the feedback and droning bass we're expecting a burst to come but it is delayed for a quiet moment of contemplation — and then the sludgey riffs break through as the droning second guitar continues. The rhythm drops out but returns shortly, a little more quiet than before, stopping occasionally for a quick dive into a slow, trembling section.

All the while the second channel gains volume in its wailing drone as we hit the mid-point, the drums slow and finally the drone begins to lessen to a shining howl. Here rhythmic waves of riffs and undulating bass begin crashing hypnotically, holding steady as that background drone begins to climb again — until the noise in the last few minutes creeps back from the outskirts to overwhelm the riffs; leaving us with the howling wind, lapping waves, chimes and creaking wood as the instruments fade. In this final track Tesa show that no matter the length they can control themselves and create something memorable, leaving only the best on display.

With IV Tesa have once again shown they are not following the pack in the post-metal genre, even though in my opinion this is as close as they've come to sounding like their peers. And yet they still are an unmeasurable distance from those peers. In fact they still sound better and far more different with their perfect mixture of genres and sounds, masking a complexity within a straightforward formula. They hold their sound, remaining peculiar and apart despite the minor departure from the brilliance of HeartBeatsFromTheSky. Admittedly that's holding them up to a ridiculously high standard that they've set for themselves. Even for Tesa it would be hard to capture that brilliance twice but they come close here.

Support Tesa. This band treads the gulf between sludge, post-rock/post-metal, and hardcore like no other with exceptional writing and dense atmosphere. While IV is not as jaw-dropping as HeartBeatsFromTheSky it is certainly worth your cash and I recommend listening to it than purchasing the CD. They will lead you on a trek through the sparkling darkness like no other band.

Go over to OSK Records and pick up a copy, or email them to do the same. You can also pick it up and stream it at Impure Muzik. The site is in Russian so if you have issues contact them since it's all through paypal in the end.




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Northless / Light Bearer - Split (2012)

Split, Halo of Flies
March, 2012

Genre: Sludge/Atmospheric Sludge/Post-Metal
Region: USA / UK

Inresurrection already did a review of Light Bearer's side of this great split not long ago, but now that the full record has been out for a few months and I've had time to run through it I'm gonna review both sides. And it's a great combination of bands for a split I must say.

Northless contributes two big tracks in their inimitable, bone breaking style. Admittedly they're not as impressive as Clandestine Abuse for me but they remain gigantic. "Tears From Crime" is the opener of their side with it's mid-paced lumbering, a pulverizing song that has dropped some of the noticeable dissonance from their full length for the most part. It's still a loud and debilitating boulder of sound from beginning to end in spite of being more straight forward, and slows a notch down in the last quarter of the song with intermittent bouncy strings of notes punctuating the massive powerchords.

Once you hit the next track "For As Long As You Walk The Earth Your Blood Will Reek Of Failure" which is a few minutes longer, the hardcore pacing comes back for the beginning — as does some of their previously mentioned epic scraping angularity once the track slows down. It swings back between ripping hardcore-ish sections and sluggish creeping, writhing marches. Nearing the end after a melodic build the song grinds down slowly bringing the doom right to the front with an evil sheen, and settles into a nice groove.

Light Bearer as most people know emerged from the ashes of the great Fall of Efrafa, and their debut record Lapsus was a great slab of post-metal. Personally I felt that it did not reach the captivating level that any of Fall of Efrafa's records did, and meandered a little more than meeting satisfying climaxes. Their side of this split titled "Celestium Apocrypha: Book of Watchers" though is a huge step up in my opinion, does absolutely everything right and is the highlight of this record. The strength displayed in Fall of Efrafa is back here — I may have to return to Lapsus to see if my opinion has changed.

The 22 minutes drift by with a deeply satisfying atmosphere, and reaches soaring peaks that will put you into a dream-like state. The first half (minus the ominous, noisy intro soundscape) slowly mounts with steady percussion before bursting wide open with excellent, simple lurching and chugging guitar and bass riffs that cycle back on themselves in a strong, very murky ditch of sludge. A familiar harsh raspy growl surfaces occasionally in a smooth rhythm with the rest of the instruments.

The build is phenomenal with some carefully used effects to punch it up a little, then a quiet valley of cleans confronts you after the bigger riffs dissipate about 10 minutes in. This section is quite something, buffered by cycling synths or samples, and a bit of clean singing. It's dark and cold at first (reminding me of moments in Fall of Efrafa's "Inle") — breaking at one point for some brief bigger, distorted riffs — but once you enter the final third of the track the smooth bass lines lull you, and shimmering post-metal clasps itself to your brain creating an ethereal wave of light that rises continuously right to the final fade.

Highly recommended split this one. If you're a fan of either band you'll enjoy this. Halo of Flies has this record up for sale now so go get it. You can also hear each side of the split streaming here and here; and Light Bearer put up their side for download as well.

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Marnost / Seeds in Barren Fields - Split (2012)

Split, Self-released /Independent
February 9th, 2012

Genre: Black Metal
Region: Czech Republic / Sweden

As it stands I'm way behind on the requests so I'll try to sort through them when this semester's done. This is one that I'll gladly post by two great bands. Marnost  a young "veganarchist" four piece with only a demo and this split, and the "green anarchist" Seeds in Barren Fields who I remember A. Lundr of Panopticon promoting a while back. Both bands offer up two gigantic tracks with quite different styles of black metal.

Marnost's song titled Svůdcové lidstva is interesting in that it seems to carefully straddle elements of post-metal, crust, traditional black metal and the more atmospheric blend across the full thirteen minutes. After the feedback intro what surfaces is shimmering drawn out notes and strong bass akin to Cult of Luna or Tesa as wails ebb in the background. Suddenly the pace is switched to thunderous black metal with the drumming picking up and the crusty deep groans seeping through. At this point the tone still has an element post-metal there without falling into familiar post-metal quirks. This is felt throughout the track as they manage to weave their way elegantly through both genres. After a spoken passage the post-metal and black metal influences meld comfortably with furious tremolo riffs and glistening chords over howls and noise. The end comes with a hypnotizing acoustic passage.

Seeds in Barren Fields is a band I have heard of though until recently I didn't get a hold of their 2011 full length. From their contribution on this split, the sixteen minute Beneath the Somber Halls, I'm quite compelled to check out that album. Beginning with rain and distant thunder, the guitars enter softly and sadly. The style here is largely melodic or atmospheric black metal though not like their North American counterparts. They're more subtly progressive with crunchy death metal gallops between powerful black rhythms, melodic twangs, and fast clanging percussion; vocally more acidic and raspy aside from a spoken passage midway through. Both guitars often follow their own paths that occasionally intersect and always ringing out beautifully. The interplay is nice. Near the ten minute mark, leading up to a long fade out, things get a little heavier with an gripping repeated passage and some notable drumming.

This is a great collaboration from two virtually unknown acts. Marnost show they are a sleeping giant while Seeds in Barren Fields have encouraged me to seek out what I've missed from them. You can hear each side by Marnost and Seeds in Barren Fields on their respective bandcamps, both have links to where you can grab a physical copy (such as Music For Liberation or directly from the bands) or download digitally for a small price. Definitely recommended.

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Rituals - Rituals (2012)

Full Length, Alerta Antifascista
February 20th, 2012

Genre: Atmospheric Sludge/Post-Metal/Doom Metal
Region: USA

This is the first album from Rituals and wow what a debut it is. A mountainous, beautiful sound is captured by these guys that straddles sludge, post-metal and doom with a sliver of hardcore too. There are five towering, atmospheric tracks to be heard (three hit the 10 minute mark) full of rumbling, fuzzy waves of ritualistic dark sludge that cascade through your ears and fill them with cold fog. Each track bleeds perfectly into each other making the album feel even more like one long, lonely sonic ceremony.

Reverb and warbled effects permeate every corner of the album, amassing from a low ambient whisper up to a soaring, loud, teetering fortress of shadowy doom. Big doom riffs punctuated these moments that repeat creating a hypnotic vibration pulling you in, then slow down even further to envelop you in that already dense, oppressive cloud. Vocals take a Seven Sisters of Sleep and Isis approach albeit at a slower pace but with all the ferocity cranked up around swathes of smooth bass and slow drums. A massive shaking boulder of sound that is paced well, hits hard and demands to be played at high volume.

Another surprising and excellent album of 2012, and once again made free by the artists (you can also hear it in full over here). Very generous. Why not support them by picking up the vinyl over at Doom Rock? Recommended for fans of Isis, Omega Massif, Tides, Lento, Cult of Luna, Atriarch, etc.

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TotorRo - All Glory to John Baltor (2011)

Artist: Totoro
Album: All Glory to John Baltor

Genre: Post-Rock / Post-Metal

This is some of the best-sounding post-rock I have heard in ages. Unbelievable drum, bass, and guitar tone. The production is incredibly wet and downright pleasing to the ears. The riffs are excellent - this is like combining the best of Year of No Light, Russian Circles, and Light Bearer. Absolutely gorgeous.

Listen to it on bandcamp, support them at Tokyo Jupiter Records.

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Dyskinesia - Dalla Nascita (2011)

Full Length, Frohike Records
September 1st, 2011

Genre: Atmospheric Sludge/Post-Metal
Region: Italy

Honestly I haven't been very interested in much of the post-metal/post-rock released this year like I have in the past. Braveyoung's new album blew me away and may be the only post-rock release I've thoroughly enjoyed while Russian Circles' latest 'Empros' I found largely disappointing. I did enjoy the new Omega Massif but truthfully it doesn't live up to their debut (last half almost gets there). However Dyskinesia's latest album "Dalla Nascita" showed up in my requests a few days back and definitely has piqued my interest more than most of what I've heard from the genre this year.

My initial impression of Dyskinesia lead me to compare them to two experimental groups getting a lot of attention recently — The Body and Terra Tenebrosa . At least to some extent. The difference is that while I really didn't enjoy either of those band's works I found this far more engaging, refined, well structured and less tedious. It may be because this is more straight forward and loud than my first impression led me to believe, more resembling Omega Massif and Tesa here and there then the aforementioned acts which makes it far more appealing to me.

Seven tracks in all which range from 5 to 8 minutes each. There's a lot of elements in "Dalla Nascita" but the overarching theme of atmospheric sludge/post-metal dominates their sound. They make a point to express that it was "recorded live in studio, with few overdubs, keeping the spontaneity and the rarefed atmospheres of their past works alive." The album flows seamlessly without becoming redundant or forgettable.

Most songs are composed of waves of well layered guitar effects: several droning/wailing guitars over the heavy sludge leads and soft bass riffs creating a wonderfully deep and lonely atmosphere. It feels like an instrumental album but a lot of tracks have either ghostly/hushed semi-clean singing or harsher vocals (similar to Time to Burn) behind the chaos created by the effect-laden guitars and pounding drums. The fourth track shows off the drone or noise aspect of the album without becoming grating; subtle resonating hums and cycling industrial/noise samples pulse slowly throughout. The final three tracks fade back into dreamy post-metal with tinges of shoegaze, the last track ending on a decidedly noisier note.

Despite the fact "Dalla Nascita" reaches just over 45 minutes it passes much faster than you'd think, stemming from the fact that every song is quite enjoyable. Beautiful in some moments while heavy and chaotic in others it's finely tuned record without the filler I was expecting. They've put it up for free (with the choice of donation t support its release) and you can also hear it on their bandcamp page.

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Omega Massif - Karpatia (2011)

Full Length, Denovali
September, 2011

Genre: Atmospheric Sludge/Post-Metal
Region: Germany

Been waiting for this: Omega Massif's new album Karpatia. I find Omega Massif to be the most captivating of the ever growing instrumental bands out there. Geisterstadt was a sludge monolith and continues to leave me speechless with it's massive crushing riffs soaked in reverb, creeping atmospheric clean moments, loads of feedback and pounding bass . Karpatia doesn't differ much in this regard and continues to showcase atmosphere through great writing. Big droning riffs that hypnotize will flood your ears until the closer.

If you want to hear either album Denovali has tracks up for both, order info, etc. Fans of post-metal that have not listened to these German sludge juggernauts should not hesitate here.

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Hive Destruction - Secretvm/Veritas (2011)

Full Length, Init Records
2011



Genre: Atmospheric Sludge/Post-Metal
Region: Belgium

Instrumental band formed by the ex-bassist of Amenra along with the current guitarist of Liar, this is their first album after a split with Amenra. The guitar tone is a little too thin at points for me but generally it's some heavy post-metal with electronic influences, lots of sampling, mid-paced heavy riffing, etc. Not necessarily ground-breaking but certainly enjoyable for people who like Lento, Empires, Supercontinent, Dirge, Rosetta, Light Bearer.

320 rip.

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Tree Of Sores - Tree Of Sores (2011)

EP, Witch Hunter Records
February 21st, 2011



Genre: Atmospheric Sludge/Post-Metal
Region: UK

Some heavy shit right here. From Witch Hunter Records:

"Leeds 3 piece, taking influences from the doomy atmospherics of Neurosis, an underbelly of crust care of Amebix, and an air of recklessness favoured by the likes of Eyehategod. The band create a vibe that is heavy, dark and ambient, with tortured male/female vocals, and a mission to take you to a frightening place. "

Definitely has a sound comparable to Amenra and Neurosis at times but with a much more crusty edge. Listen here.

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Dirge - Elysian Magnetic Fields (2011)

Full Length, Division Records
April, 2011



Genre: Atmospheric Sludge/Post-Metal
Region: France

A very heavy french band flying under the radar, Dirge play sludge/post-metal and have been consistent when it comes to quality releases. Elysian Magnetic Fields is their fifth release and it is a dense and massive record with layered effects and mounds of atmosphere, a great deal of slow and heavy riffing over top of some well placed synths and samples, occasionally coupled with strained yells from the vocalist.

Eight lengthy songs in the vein of Cult of Luna, Light Bearer, Pelican, Supercontinent, Empires, Rosetta, Hive Destruction, etc.

-link removed on request-

Lento - Icon (2011)

Full-length, Denovali Records
April, 2011



Genre: Atmospheric Sludge/Post-Metal
Region: Italy

You gotta love great bands that release their shit for free (in 320). Lento's first solo album "Earthen" was seriously heavy with ambient elements throughout, and they also did a improvised album with ambient stoner/doom masters Ufomammut. From Denovali:

"The foundations for ICON had been laid during two years of intense touring in Europe. In this time, LENTO have started to develop a more chaotic and restructured songwriting. This new level of sound has then been perfected during numerous hard rehearsels in the touring period, and has been deepened in a period of one year, which LENTO spent isolated in their home-based studio. In that year, LENTO managed to cast the molten outcome of their creative process into ten new songs."

This release is a little different from previous outings, there are slight progressive elements alongside the crushing sludge riffs and atmosphere. I'd encourage everyone who enjoys this band and their music to also preorder Icon here, where you can stream it live too.

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Braveyoung - We Are Lonely Animals (2011)

Full Length, The End Records
March 29, 2011



Genre: Post-Rock/Post-Metal
Region: USA

Well I've been waiting for something from these guys since their Bloom EP and here it is. I must say I'm really liking it. They were originally the Atmospheric Sludge/Post-Metal band Giant who had one full length and a split with Tides, then they changed their name. What we have here is something quite different from Giant and I would say different even from their EP.

Starting with a quiet piano intro, it is much more minimal with a depressive/calm tone throughout and some strong bass and violin/cello-esque elements that fit very well. There's one or two tracks with a sprinkling of low vocals but it is largely instrumental. I would compare We Are Lonely Animals to something like Godspeed You! Black Emperor, Mono and Tides.

In 320.

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Rogue Sounds - Transmission [2010/320]

I was actually asked directly by the band to post this on here, and thus here it is. I have listened to it myself and it is a very solid record. In fact, it's one of my favourite EP's this year. It might be interesting to know, the album was produced by Ed Brooks, who has worked with Russian Circles and Fall of Troy, previously. I definitely recommend this to Post-Rock/Post-Metal fans.

Artist: Rogue Sounds

Album: Transmission (EP)

Release Year: 2010

Genre: Post-Rock

1. Decibel

2. Virtue

3. Vice

4. Transmission

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Devil Sold His Soul - Blessed & Cursed (2010)

Genre: Post-Hardcore / Post-Rock
Region: England

1. Tides
2. Drowning/Sinking
3. Callous Heart
4. An Ocean of Lights
5. Frozen
6. The Disappointment
7. Crane Lake
8. A Foreboding Sky
9. The Weight of Faith
10. Truth Has Come

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Bonus tracks

11. Fade To The Grave

12. Death Surrounds You

13. Let The Rain In

14. Emptiness

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Kausal - In Dead Cities [2010/VBR320]

Some very engaging Post-Rock/Post-Metal. I cannot recommend this enough. Definitely took me by surprise at how good this turned out to be.

Artist: Kausal
Album: In Dead Cities
Release Year: 2010
Genre: Post-Rock/Post-Metal

1. The Debt
2. We Steal Sunshine
3. Evac
4. That Will Make Sense Tomorrow
5. The Conquistador
6. How is Your Heart?
7. Rising Cities
8. The Rest

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Ortega - 1634 [2010/192]

After hearing their promo last year, I have been anxiously awaiting to listen to Ortega's debut full-length. Well, the album's here now, and I am enjoying it quite a bit. Nice mixture of sludge and post-metal. "The Siren" is still my favourite track by them, and definitely needs to be heard.

Artist: Ortega
Album: 1634
Release Year: 2010
Genre: Sludge/Post-Metal

1. Still
2. Into the Waves
3. Shipwrecked
4. The Siren
5. Octagon
6. Chaser
7. The Oracle

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TotorRo - TotorRo [2010/VBR]

Some of the best post-rock I've heard in a while. Cannot wait for a full-length release from this band.

Artist: TotorRo
Album: TotorRo (EP)
Release Year: 2010
Genre: Post-Rock/Post-Metal

1. 1984
2. My Bob's Blue Eyes
3. Isang Tao
4. Totoro's Rising

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Three Steps To The Ocean - Until Today Becomes Yesterday (2009)

Band: Three Steps to the Ocean
Album: Until Today Becomes Yesterday
Genre: Post-Metal

1. December 31st 1844
2. It's a Day, Maybe More, Since I Saw You
3. Diomede
4. Remember Lynne Cox
5. It's a Minute, Maybe More, Since I Could See
6. Il Quinto Giorno

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Rosetta - A Determinism of Morality (2010)

Such a great year so far for music fans. Another great sludge album for 2010.

Band: Rosetta
Album: A Determinism of Morality
Genre: Sludge/Post-Metal

1. Ayil
2. Je N'en Connais Pas La Fin
3. Blue Day for Croatoa
4. Release
5. Revolve
6. Renew
7. A Determinism of Morality

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