AV Sunset are a 4 piece Instrumental post-rock outfit from Northampton, UK.

Their debut album ‘Disconnections‘ was released in December 2023.

The soundscaping work is excellent – Radar Invisible is like an atherieal dream, with mind sirens calmly whirring. While tldl is wide and tranquil – cautiously rising toward and energetic horizon.

Often kick-starting adrift in an eerie well of melancholy and ponder – we are guided through an orientating mire towards a heavy, hammering resolve (Hasselhoff/Monomyths), as if standing in conquest over the earlier struggle – or, as in real highlight Soundtrack, ending in thunderous unison.

There’s traces of dissonant guitar shaping a haunted atmosphere, interjected with thick, stomping tribal riffs (Empty Vessels).

Intricate dual guitar riffs deepen with intensity as they carry us between segments (The Science of Fire/Soundtrack/Ancient Radiations), while tremolo lead melodies overlay an acesding battle cry (TSOF). 

The beats are crisp, occasionally stomping (TSOF), rising and rolling, pacing the journeys. The riffs are marching and purposeful, and the energy is defiant. While the bass deepens the mood, adding depth and drive.

The sonic imagery is sublime – like we are mystically guided through a rugged landscape. Ancient Radiations had me envisioning a journey through an abandoned Midwest landscape, with the sun finally setting over another seismic summit.

There’s diversity on this album, while still maintaining a distinct aura. A tremendous debut.

Discover Disconnections with links on all streaming platforms on Post-Rock Nation today.

Review Submitted by London Post-Rock

L.O.E are a Post-Rock Group from Halifax, Yorkshire
People Like People Like Them 
Released 19.08.2022 

After leading us into a wide landscape of fluid guitars and aptly chosen retro vocal samples, explosive breaks and optimistic hooks crash in over heavy drums. Intricate yet subtle guitar layers return as an ethereal mid section bursts into an emotive uplift, melding overdriven harmonies push the progression forward to a resolving climax. 

The vocal samples that run throughout create a sense of inspiration, rebellion and cautionary nostalgia, that gives the song a nice thematic ark. 

Though equally enjoyable as an Instrumental, which is included later on the EP. 

‘1001‘ journeys from an atmospheric groove and underlying NASA sample, building up to a riff laden and driving lift, before transitioning into a triumphant, beautifully harmonised and melodic chorus riff.

Following their self titled EP (2020), this  release shows a refined sound with great energy and sense of purpose and resolve. 

They have achieved an inspiring vibe here, which though certainly cinematic –  in a ‘We Lost the Sea’ and ‘Long Distance Calling’ sense, also shows Indie hints of Pumpkins, ‘Bends’ Radiohead and Explosions in the Sky.

The band discusses self-empowerment and the importance of expression, with the songs evolving from intimate discussions around mental health and life struggles, with music and writing as a catharsis and path to finding solace and resolution. 

Including a video preview on ‘Where Post Rock Dwells’ there’s been an excited reception to the release – BBC 6 Music insist this “…Absolutely Epic Debut” is a must listen. And we agree! 

Posted by London Post-Rock

Enjoy Eternal Bliss Review

Yndi Halda is a progressive post-rock band from Kent, UK

Over a period of over 15 years, they have gained a strong following in both post-rock and alt-folk circuits.

Described as “the kind of music which could soundtrack a modern-day love story as easily as it could a mid-century war”…
Enjoy Eternal Bliss – from where the name ‘Yndi Halda’ arises, was released in 2007, when the band were still teenagers.

Considered, serene, and delicate soundscapes build up to emotional, controlled climaxes.
There’s a well-balanced fusion of melancholic intensity and optimistic resolve on these journeys. All while exploring a number of appropriate and still surprising tones and rhythms.

Though it is easy to make reference to other post-rock bands that include violin, such as Aesthesys, The Evpatoria Report, and The Severn Mile Journey – the peaceful meander meeting explosive emotional release also draws compassion to Explosions in the Sky, pg.lost and I Hear Sirens.

The album was remastered and re-released in March 2022.

With limited vocals on this first album (the two lines in ‘A Song for Starlit Beaches’), their second album, ‘Under Summer’, released in 2016, showcases a deeper dive into lyrics and vocal melody. Though only 4 tracks, the album spans the best part of an hour. It is a mature expansion of the ideas and vibes explored since their first undertaking.

Each track it’s own existential journey, we have almost mechanical drone, funky rhythmic grooves, and driving electric lead, all interjecting with the iconic haunting lead violin, from where the majority of the melody hails – continuing the standard set on their first record.

Their latest official release, the single ‘A Sun Coloured Shaker‘ shows a further development of vocal exploration, with multipart vocal harmonies shaping the progression of the song. The development thus includes elements of progressive and indie folk, though it still sits in its own unique space.

Posted by London Post-Rock

Only Ever: Marfa – Melancholy, Turbulence, and Hope

The self-titled album by the band Only Ever, released in February 2024, is the first full-length material from the group consisting of Bill Hamilton, Ivan Beltrán, Kent Evans, Ray Herbert, and Andrew Czornyj. The album contains 6 songs with a total duration of 48 minutes and 8 seconds.

Only Ever is characterized by a melancholic and ethereal approach, with songs that mix elements of slowcore, shoegaze, and ambient, using these genres in an accurate and timely manner to give greater expressiveness to their compositions. This album is presented as a release from the difficult moments experienced by each of the band members. The structure of the songs often starts softly until reaching a climax. The first two songs on the album, Diatom Bloom and Drifters, have ethereal and atmospheric bases that will be developed in the other pieces. These songs use various effects and white noise to create a friendly and comforting musical barrier for the listener, giving way to the guitars and drums that provide a slow but steady tempo in the melodic construction.

The rhythm and flow of these two songs set the stage for what, in my opinion, are the album’s peak pieces: Soup and Marfa. Soup begins with rhythmic and expressive drums accompanied by various effects, presenting a change in the composition’s atmosphere, making it more tragic and heartbreaking. The strong presence of the bass and the melancholic rhythm pave the way for the album’s masterpiece, Marfa.

From the moment Marfa begins, a heavier and more reflective aura is felt due to the atmospheric effects. A moving and tender keyboard accompanies this intimate construction, taking the melancholic load to a higher level. At the 1:54 mark, the most moving part of the album appears with the enveloping keyboard, which seems like a reflection or complaint, accompanied by drums that mark a slow but steady tempo. All this subtle and sentimental construction intensifies until reaching a climax at the 4:50 mark, giving us a masterfully constructed piece, a definition of classic Texas post-rock.

The last two pieces of the album, Shift and On a Pale Horse, continue with this sentimental and intimate essence but reduce the atmospheric power provided in Marfa, presenting a warmer and more reflective sound.

Personal Emotions

I discovered the band with this particular album, just two weeks after its release, and it was a delightful experience. I find it interesting how they address such complex and dark feelings in each of the six pieces, but at the same time, they offer us a glimpse of hope. The strongest points of the album are the emotional weight given by each of the band members, allowing the listener to feel identified and moved by these great sonic constructions.

As an alternative note, I felt that the album has a certain inclination towards elements that remind me of jazz, perhaps I could be wrong in feeling that way. I was reading South of the Border, West of the Sun by Haruki Murakami, the favorite writer of my favorite person, and when imagining the scenarios and references to jazz, I couldn’t help but remember Marfa. I decided to finish reading the book with this melody on repeat. The intimacy and sentimentality of the book reminded me of the feelings evoked by the band.

Conclusion

I invite everyone to give this still little-known band a chance, offering us complete and original material with an overwhelming emotional load. I give it a rating of 9.5/10, as it made me experience very intimate things that would be impossible to explain with words. I eagerly await more material from the band to see how they continue to surpass themselves.

Written by Ángel Eduardo De la Cruz Carreta

Single Review – Maestro’s Monster – “We’ll Fight Till Our Guns Are Empty’

Maestro’s Monster is a multi-instrumentalist Post-Rock artist hailing from South East London 

“We’ll fight till our Guns run empty” was released June 2024.

Eerie and dissonant tremolo keys lead us in paired with a pulsing synth bass …. watery and spacious synth chords join as we progress with rhythmic Toms building to create a hallowed and suspenseful space.

There is a mechanical and almost sinister atmosphere here, as whirring, wiry keys interject with chuggy synth bass and a light twinkling piano melody creeping out of the synth chords. 

We wind up with a whaling high-sustain guitar guiding us over the precipice, as the guitar appears to be torn through different frequencies, before stabilizing into a crashing climax.

The composition as a whole is mysterious and uplifting, whilst the experimental use of synthesizers and the manipulation of guitar effects also lend themselves to a dissonant and unstable building of space.

After playing drums for a few bands in other genres, Matt decided to focus on the music he enjoyed listening to and thus pioneered his solo Instrumental project – ‘Maestro’s Monster’ – taking inspiration from such bands as: Sleepmakeswaves, Mogwai and Collapse Under The Empire, he composes, records and mixies everything himself as he continues to develop his craft within the genre he loves.

With some collaborations on the horizon and with another 9 singles released since the start of the year, watch out for more from this impressive solo artist!

Authored by Post-Rock London

a review of Voiceless Infinity by Gravity Thieves

Sunrise opens this album up on a bitter note. The moodiness of the guitar and even the gritty texture of its tone suggest this dawn is one of reckoning.

The song itself is quite repetitive, as is the entire album, but somehow makes this an asset. There’s a feeling of dragging out one’s last moments before embracing a cold new reality. The music doesn’t want to move on, and that’s the point. The resistance strengthens as we approach that point of no return.

A Crisis of Faith dives right into this dark new world. Again utilizing repetition to build the tension, an overwhelming dread takes shape in the heart and mind. This is the existential crisis personified in sound.

Chugging metal riffs and screaming sirens settle into a calm before the storm. And then, a nihilist embrace. Like an anti-hero origin story, replete with stern resolve moving forward.

It is in these powerful moments I begin yearning for more from the drums. More variety in fills and a wider dynamic range would go a long way in emphasizing the emotions conveyed.

This issue is somewhat rectified in Stars Above the Citadel. A soft melody fades in slowly amidst a sea of space and surrealism and abruptly crashes into a minor harmonic delight. It feels like the first mission of our newly christened anti-hero. Full of adventure, suspense, and the occasional groovy bass line, this song repeats far less than its predecessors. Lulled into a sense of security and expectations, we now know to expect the unexpected. Riffs aplenty in this album highlight.

Capture and Control brings a much needed change of pace and vibe. More like a stealth mission, carefully and thoughtfully setting up its big moments. 

Clean riffs cut through all the dirt to keep things fresh and on target. Finally, the moment of truth strikes with a vengeance. A screeching solo rips through space in a flash and just as quickly fades like a ghost into the night.

A rare moment of quiet soul searching comes in Arrokoth. Aptly named for the cold distant object drifting in the far reaches of our solar system. Distance and void are superbly conveyed in swelling synth chords, creating an Effective juxtaposition with the crisp and dry acoustic.

Into Shallow Water abruptly disturbs our trance with an all out assault of blast beats and distortion. The tight unison of the bass and guitar sound the alarm. Dissonance grows and danger nears. This is a new and greater reckoning to perfectly complement Sunrise.
An epic, Free Bird-worthy guitar solo closes this album with gusto and wah, fading into the distance, determined and uncompromising.

For fans of thrash metal and progressive storytelling. Thoughtfully crafted and full of raw energy, I give this album a 9/10. There are several moments where greater dynamic contrast could elevate this suite to a 10, but it remains a wild ride nonetheless.

Authored by Dan

The Lost Widow wastes no time in establishing what they’re all about. The opening title track’s somber guitars saturated with reverb set the mood. The crushing weight of sorrow is felt in an epic distortion-filled outro, accompanied by a feeling of acceptance that fades into the more reserved and contemplative Reach. 

Delay in abundance, soaring shimmering overtones, and ethereal atmosphere, this album begins to feel like a journey through the stages of grief.

Resting for Oblivion then quickly establishes itself as the most dynamic entry yet. Rhythmic changes expertly executed on drums take you on a journey of introspection in preparation for what’s to come. A fitting setup for the climax.

Watching the World Fall Apart Together is the catharsis we’ve been waiting for. What’s coming cannot be stopped. All that’s left is to embrace the end. A driving, droning guitar and brilliantly crescendoing drums lead to a brief and beautiful respite. A truly cinematic soundscape brings the release of all anxiety and fear, and the guitars and drums reaffirm their resolve to usher in oblivion. A tense violin solo drives home the point with a sharp, bittersweet serenade fitting for the end.

An emotionally charged ballad from start to finish. This one’s for the shoegaze and cinema fans.

Authored by Dan

Novere – ‘Nothing Stays Hidden in Daylight‘

Novere is a Post-Metal band from London, UK

The opening track ‘Hydra‘ hammers in with a chugging riff, heavy growling vocals, well harmonized guitars and a hefty drum beat hall us into this Doom laden, haunting opening track.

Tribal-like vocals shape a tense atmosphere as steadily rising rolling drums & thunderous riffs rise toward an anthemic mid section. We reprise the main, bone shaking riff, with heavier vocals – ending on a hum of feedback

‘Aphelion‘ begins with a soft haunting vocal part and coupled light guitar, a lullaby that shapes a suspenseful atmosphere – before breaking into tight, satisfying yet still menacing guitar riffs. 

There are long atmospheric instrumental breakdowns coupled with more strong, melodic vocals, subtly harmonized, before a heavier driven climax. Again, there is a sense of melancholic energy. The riffs are powerful, and the dynamics are well crafted.

‘Dance Macabre‘ sees a softer approach, again well crafted and subtle. The vocals play a key role in driving us through this ghostly journey. The lyrics feel sincere and longing, while the instrumentation keeps us sitting on the edge of the space the band creates, an unexpected recess before the album’s heavier finish.

‘Cromlech‘ leads us in with a jagged bass and drum pairing before a cascade into growling vocals and driven, crunchy, brazen riffs and harmonies. The band displays a sense of considered angst – with frequent rhythm and intensity changes, breaks and interludes. We finish dissonant and chaotic – an apt way to end this journey of honest expression! 

There are lots of references here, from Opeth to Long Distant Calling, A Perfect Circle and Cult of Luna – though ultimately the band stylishly show off their clear experience in the genre, crafting something heavy, honest and unique of their own.

With elements of Doom, Metal and Post-Rock, in their own words the band “aims to translate the universe of Human emotions and psychological struggles” into their music.

Authored by Post-Rock London

Alex Henry Foster (AHF) is a Canadian musician, singer, producer, and composer, best known as the frontman of Juno Awards nominee band Your Favorite Enemies. In November 2018, Foster released a first solo album “Windows in the Sky” (Hopeful Tragedy Records) 

With shades of: Godspeed You! Black Emperor, Fugazi, Pixies, My Bloody Valentine, Mars Volta, Radiohead, Swans and Nick Cave – Silent Radio best described the group as “Sonic Youth meets Slint at a party hosted by Mogwai!” 

His new single – ‘The Power of the Heart’ a brilliant adaptation of the Lou Read track first released in 2010 by Peter Gabriel –  released earlier this year on streaming services, is a great place to start for newcomers. 

Orchestral waves support elegantly evolving vocals, subtle atmospheric textures and a powerful emotive chorus.   Almost tribal rhythms driving you through the story. The single will be offically available for purchase from September. 

Watch out also for ‘Son of Hannah’ – an eerie build up of sound-scaping and space building leads to an explosive climax with belting vocals and heavy instrumentation. 

“The Hunter (By the Seaside Window)” is a stand out track from ‘Windows in the Sky’ – Leading out with some solid guitar riffs and a variety of lead tones and fluid licks. Passionatley delivered dialogue ride over psychedelic undertones, carrying the journey to a seismic climax. 

NOT ONE TO MISS LIVE! The band are famed for their impressively dynamic performances with a variety of instrumentation, infectious energy, emotive soundscapes and tight powerful execution. 

Check out official releases from Alex Henry Foster on all main streaming services now! 

Authored by Post-Rock London

Mountainscape are a Post-Metal Instrumental group from Reading, UK .

Their new single ‘Iridescent‘ (with album of the same name) is out now on all streaming platforms!

The track floats in with subtle soundscaping and a light wandering guitar riff before the sledgehammer is dropped with the crunching main riff and thunderous drums.

Returning to an atmospheric and melancholic verse section, with rolling drums and meandering delayed guitar while a growing sense of suspense push toward a heavy riff driven climax.

With their two previous album releases, “Acceptance” (2021) followed by “Atoms Unfurling” (2022) the band have become established on the Progressive Rock scene, playing gigs in and around London, Reading and the rest of the UK

Their unique blend of Black-Metal, Doom and Post-Rock echoes shades of Long Distance calling, Russian circles, Caspian and Cult of Luna, though tend to surprise with intermittent ambience and sophisticated space building.

Their latest album release “Iridescent” was released Friday June 7th and is available on all streaming platforms.

The band describes their newest work as “Exploring further the pairing of dreamlike shoegaze with earth shattering heaviness, unexpected twists and a strong emphasis on memorable songwriting”

Posted by London Post-Rock