Sincerity is difficult to fake – ask any politician in the build-up to an election – yet post-rock Manchester collective Pijn (pronounced “pine”) keep it real on their powerful, atmospheric, heartfelt new album, From Low Beams Of Hope (Floodlit Recordings).Continue reading
A sensuous, rapturous and thought-provoking collection of superior, post-rock instrumental music, Oath (Pelagic Records), from Japanese four-piece Mono, was recorded and mixed by late, great and already much-missed engineer Steve Albini, who passed away last month, aged 61.Continue reading
Since their inception in 2010, Polyphia have proven to be an ever-moving entity; one that is hugely (and purposefully) hard to pigeonhole, even across the duration of each album. Armed with potent musicianship across the board, the band have ever expanded their sound from their early days culminating currently to a cauldron of styles and tones across. It is likely you will hear this about many artists but it is a sentiment that reigns entirely true on Remember That You Will Die (Rise Records).
For the twenty-year anniversary of their debut album The End Of The Beginning, post-rock wizards God Is An Astronaut have revamped the record in a live studio setting, reversing the title to The Beginning Of The End (Napalm Records). The new recordings polish the songs up, flashing the band’s growth in musicianship while staying true to the original song structures. The improved production and performance have each instrument sounding more well-balanced, enhancing every melody and soundscape to a more cinematic level, revealing their fullest potentials. Continue reading
Kirk Hammett of Metallica makes his solo debut with Portals, a four-song instrumental EP to be released April 23rd, 2022 via Blackened Recordings across digital platforms, on CD, and as a Record Store Day Exclusive Ocean Blue Vinyl EP (including a download card). It will be the first release on the label that is not a Metallica release. True to its title, Portals is a collection of gateways to myriad musical and psychic destinations. Recorded in multiple locales ranging from Los Angeles to Paris to Oahu, Portals is both the result of musical and metaphysical journeys. An invitation to inner worlds accessible only by music and the psyche it fuels.
Instrumental metal quite often gets the wrong rap for being a bit tedious and pretentious, seemingly a genre that is more about a band trying to show off how well they can play their instruments rather than create an atmosphere and a unique sound and hook. Brand new four-piece outfit, Crevassian set out to create a cathartic blend of atmosphere and groove with their debut, self-released, self-titled EP.Continue reading
New York’s instrumental prog metal masters The Astral Cadence have shared a new visualizer and album teaser. Their new album Paradigm drops on September 24th and is chock full of sweet progressive music jams and well thought-out epics. The band has made a name for itself inside the deep NYC scene for several years, having opened for the likes of Angel Vivaldi, Scale the Summit, The Fine Constant and Felix Martin. They will find a lot of fans among shred nerds, jazz, technical metal styles, and experimental music. Watch the trailer now. Continue reading
When it comes to instrumental music, bands find themselves with the added challenge of how to captivate an audience without the charisma of a vocalist or a noticeable member fronting the band. It is not surprising then to discover the caliber of bands in the post-metal/post-rock community and the high bar they are setting fledgling ensembles that attempt to bring something new to the table.Continue reading
I, Awake (self-released) is the 5th album from UK-based outfit Updownc. Their first as a three-piece, this self-released monster is easily one of the most satisfying instrumental records of 2017.Continue reading
It is nearly two decades since Apocalyptica first muscled their way into our collective consciousness as “that band that plays Metallica songs on cellos”. What at first appeared merely a neat gimmick has seen them become a fully fledged, credible and long-term band – one who have proved that metal doesn’t need to be played on electric guitar, and a tale of two cities, with big vocal singles such as ‘I’m Not Jesus’ and ‘I Don’t Care’ sat alongside stimulating dark instrumentals. It is this successful formula they look to replicate on eighth album Shadowmaker (Eleven Seven).
Having previously relied on a (frankly impressive) guest list of vocals (including Corey Taylor, Cristina Scabbia, Max Cavalera and Till Lindemann amongst many others), this time around the Finnish cellists have enlisted Franky Perez (Scars on Broadway/Slash) on 7 of the 11 full tracks, the first time they have used the same vocalist across an album.
However, consistency is an issue in the vocal led tracks; first track proper ‘Cold Blood’ is confident, competent and possessing of a strong chorus, and ‘Hole In My Soul’, a simple balladic shuffle, tugs on the cello strings of the heart; not a million miles from the more lachrymose moments of HIM, but ‘Dead Man’s Eyes’ fucking drags on and on becoming a song that fails to evoke any emotion other than annoyance, ‘House of Chains’ could be a Shinedown outtake, and ‘Sea Song’ sees interest wade out amongst the waves.
Meanwhile, the title track gets stronger and more interesting for the lengthy mid-to-late instrumental section, ripping through a Kirk Hammett style lead that segues into a Mercyful Fate darkened ambiance; ‘Reign of Fear’ intrigues and ensnares with mournful cello leads dancing languidly over riffs of varying tempos; and the aural voyage of ‘Til Death Do Us Part’, with its lengthy emotive passages dovetailing with stabs and lurches, is the album highlight.
Ultimately, Shadowmaker shows that the true essence of Apocalyptica lies in the instrumental. Unfettered by the constraints and adamantine chains of a traditional rock song structure they are, as they always have been, at their best, most dynamic and most interesting. Flitting between that and standard rock fare leaves them with a patchwork quilt of an album – the stitching may be great, but the overall aesthetic is muddled.
6.0 /10
STEVE TOVEY