#blackgaze — Public Fediverse posts

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🎵 MØL - Garland

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Tengo la mañana libre, así que toca recostarse y meterse por el urunus los álbumes que tenía pendientes

#musica #VioletCold #metal #blackgaze

Free download codes:

saelo - incarcerated thought

"A distorted boisterous journey through a season in hell via black metal and shoegaze"

https://getmusic.fm/l/hRCQzG

#shoegaze #postmetal #blackgaze #psychedelicmetal #music

Free download codes:

Teach Them To Weep - Past the Veil of the Observable Universe

"Post-metal with elements of post-hardcore, black metal, and psychedelic music with a heavy focus on story telling."

https://getmusic.fm/l/EpLFwn

#blackmetal #posthardcore #postblackmetal #postmetal #blackgaze #psychedelicmetal #music

If you're into blackgaze, this split EP by Bejing's Asthenia and London-based World Coda is fantastic! 🥰

#Asthenia #WorldCoda #Blackgaze #China

https://worldcoda.bandcamp.com/album/rupture

Sylvanshine – The Offering Review

By Killjoy

The contrast of opposites is fundamentally important in art, and Sylvanshine is an apt name to illustrate this principle. As I just learned from Wikipedia, “Sylvanshine is an optical phenomenon in which dew-covered foliage with wax-coated leaves retroreflect beams of light, as from a vehicle’s headlights. This effect sometimes makes trees appear snow-covered at night during summer.” Fittingly, Ion Ureche’s blackgaze project from Bucharest, Romania, deals with opposing themes, specifically “love and loss, hope and desperation.” Not exactly uncommon themes in blackgaze, but how clearly does Sylvanshine’s debut full-length album portray them?

The Offering oscillates fluidly between the “black” and the “gaze” at a moment’s notice. Crystalline post-black tremolo riffs shimmer and dance to and fro, intertwined with distorted guitar chords and blast beats. The dreamier guitarwork is not unlike that of Alcest’s debut Souvenirs d’un Autre Monde, with plenty of Shelter-era influence also thrown in the mix. What sets Sylvanshine apart from many of its blackgaze peers is the heavy reliance on delicate acoustic guitar plucking and strumming in the vein of early Slowdive. There are three tracks entirely dedicated to this instrument, and it features prominently in the bridges of several others to counterbalance the moody aggression with an intimate touch.

It’s clear that Ureche is a guitarist first and foremost.1 The Offering’s crisp, clear, and poignant lead guitar lines are where the emotional duality alluded to in the promo material shines. The ringing, sorrowful melodies in “Cri de Coeur” and “Rebirth” grow more hopeful as the songs progress, like sunlight breaking through cloudy fissures. If the vocals were similarly expressive, Sylvanshine would be onto something special. They remind me of Sergio Catalán’s deep growls in Winds of Tragedy, but, unfortunately, with more croak than roar. At best, they sound flat (“The Moon and Stars Above,” “Cri de Coeur”) and, at worst, they clash with the guitars (“The Offering”). To his credit, Ureche plays to his strengths by allocating the majority—if not entirety—of each song to instrumental performances.

However, this songwriting decision could have benefited from further refinement in execution. This is particularly true of the tracks that are solely instrumental. It would have been fine to start the album with one acoustic track (“Dirge for a Love”), but the placement of another (“Nothing Will Ever Be the Same”) immediately after the first proper song, “Cri de Coeur,” causes a major pacing stumble. The acoustic guitar bouquet “Reverie” that later follows is gorgeous, but repeats for too long and should have either been fleshed out or trimmed. By the time 5-minute closer “Rebirth” rolls around, instrumental fatigue has set in. Some of the other short songs, “Running from Myself” and “The Offering,” show promise but feel disjointed and underdeveloped. The latter briefly dips into gothic territory midway through, with darker riffs and a haunting organ which sounds slightly out of context here, but the style could fit Sylvanshine very well given more time and attention.

Sylvanshine has all the makings of a young artist in the process of finding his voice, both figuratively and literally. Ion Ureche has a natural talent for composing and performing guitar melodies that mirror the ever-changing spectrum of human emotion. That said, further vocal training—or the addition of a more practiced vocalist—would do wonders for the project. He also has room to grow as a songwriter, and I get the sense that his skill ceiling is high. The Offering is a respectable debut album, but improvement in these main areas will help Sylvanshine to truly stand out amongst the crowd.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: sylvanshine.bandcamp.com | facebook.com/sylvanshineMusic
Releases Worldwide: May 23rd, 2025

#25 #2025 #Alcest #BlackMetal #Blackgaze #May25 #PostBlackMetal #Review #Reviews #RomanianMetal #SelfRelease #Shoegaze #Slowdive #Sylvanshine #TheOffering #WindsOfTragedy

Sylvanshine – The Offering Review

By Killjoy

The contrast of opposites is fundamentally important in art, and Sylvanshine is an apt name to illustrate this principle. As I just learned from Wikipedia, “Sylvanshine is an optical phenomenon in which dew-covered foliage with wax-coated leaves retroreflect beams of light, as from a vehicle’s headlights. This effect sometimes makes trees appear snow-covered at night during summer.” Fittingly, Ion Ureche’s blackgaze project from Bucharest, Romania, deals with opposing themes, specifically “love and loss, hope and desperation.” Not exactly uncommon themes in blackgaze, but how clearly does Sylvanshine’s debut full-length album portray them?

The Offering oscillates fluidly between the “black” and the “gaze” at a moment’s notice. Crystalline post-black tremolo riffs shimmer and dance to and fro, intertwined with distorted guitar chords and blast beats. The dreamier guitarwork is not unlike that of Alcest’s debut Souvenirs d’un Autre Monde, with plenty of Shelter-era influence also thrown in the mix. What sets Sylvanshine apart from many of its blackgaze peers is the heavy reliance on delicate acoustic guitar plucking and strumming in the vein of early Slowdive. There are three tracks entirely dedicated to this instrument, and it features prominently in the bridges of several others to counterbalance the moody aggression with an intimate touch.

It’s clear that Ureche is a guitarist first and foremost.1 The Offering’s crisp, clear, and poignant lead guitar lines are where the emotional duality alluded to in the promo material shines. The ringing, sorrowful melodies in “Cri de Coeur” and “Rebirth” grow more hopeful as the songs progress, like sunlight breaking through cloudy fissures. If the vocals were similarly expressive, Sylvanshine would be onto something special. They remind me of Sergio Catalán’s deep growls in Winds of Tragedy, but, unfortunately, with more croak than roar. At best, they sound flat (“The Moon and Stars Above,” “Cri de Coeur”) and, at worst, they clash with the guitars (“The Offering”). To his credit, Ureche plays to his strengths by allocating the majority—if not entirety—of each song to instrumental performances.

However, this songwriting decision could have benefited from further refinement in execution. This is particularly true of the tracks that are solely instrumental. It would have been fine to start the album with one acoustic track (“Dirge for a Love”), but the placement of another (“Nothing Will Ever Be the Same”) immediately after the first proper song, “Cri de Coeur,” causes a major pacing stumble. The acoustic guitar bouquet “Reverie” that later follows is gorgeous, but repeats for too long and should have either been fleshed out or trimmed. By the time 5-minute closer “Rebirth” rolls around, instrumental fatigue has set in. Some of the other short songs, “Running from Myself” and “The Offering,” show promise but feel disjointed and underdeveloped. The latter briefly dips into gothic territory midway through, with darker riffs and a haunting organ which sounds slightly out of context here, but the style could fit Sylvanshine very well given more time and attention.

Sylvanshine has all the makings of a young artist in the process of finding his voice, both figuratively and literally. Ion Ureche has a natural talent for composing and performing guitar melodies that mirror the ever-changing spectrum of human emotion. That said, further vocal training—or the addition of a more practiced vocalist—would do wonders for the project. He also has room to grow as a songwriter, and I get the sense that his skill ceiling is high. The Offering is a respectable debut album, but improvement in these main areas will help Sylvanshine to truly stand out amongst the crowd.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: sylvanshine.bandcamp.com | facebook.com/sylvanshineMusic
Releases Worldwide: May 23rd, 2025

#25 #2025 #Alcest #BlackMetal #Blackgaze #May25 #PostBlackMetal #Review #Reviews #RomanianMetal #SelfRelease #Shoegaze #Slowdive #Sylvanshine #TheOffering #WindsOfTragedy

Sylvanshine – The Offering Review

By Killjoy

The contrast of opposites is fundamentally important in art, and Sylvanshine is an apt name to illustrate this principle. As I just learned from Wikipedia, “Sylvanshine is an optical phenomenon in which dew-covered foliage with wax-coated leaves retroreflect beams of light, as from a vehicle’s headlights. This effect sometimes makes trees appear snow-covered at night during summer.” Fittingly, Ion Ureche’s blackgaze project from Bucharest, Romania, deals with opposing themes, specifically “love and loss, hope and desperation.” Not exactly uncommon themes in blackgaze, but how clearly does Sylvanshine’s debut full-length album portray them?

The Offering oscillates fluidly between the “black” and the “gaze” at a moment’s notice. Crystalline post-black tremolo riffs shimmer and dance to and fro, intertwined with distorted guitar chords and blast beats. The dreamier guitarwork is not unlike that of Alcest’s debut Souvenirs d’un Autre Monde, with plenty of Shelter-era influence also thrown in the mix. What sets Sylvanshine apart from many of its blackgaze peers is the heavy reliance on delicate acoustic guitar plucking and strumming in the vein of early Slowdive. There are three tracks entirely dedicated to this instrument, and it features prominently in the bridges of several others to counterbalance the moody aggression with an intimate touch.

It’s clear that Ureche is a guitarist first and foremost.1 The Offering’s crisp, clear, and poignant lead guitar lines are where the emotional duality alluded to in the promo material shines. The ringing, sorrowful melodies in “Cri de Coeur” and “Rebirth” grow more hopeful as the songs progress, like sunlight breaking through cloudy fissures. If the vocals were similarly expressive, Sylvanshine would be onto something special. They remind me of Sergio Catalán’s deep growls in Winds of Tragedy, but, unfortunately, with more croak than roar. At best, they sound flat (“The Moon and Stars Above,” “Cri de Coeur”) and, at worst, they clash with the guitars (“The Offering”). To his credit, Ureche plays to his strengths by allocating the majority—if not entirety—of each song to instrumental performances.

However, this songwriting decision could have benefited from further refinement in execution. This is particularly true of the tracks that are solely instrumental. It would have been fine to start the album with one acoustic track (“Dirge for a Love”), but the placement of another (“Nothing Will Ever Be the Same”) immediately after the first proper song, “Cri de Coeur,” causes a major pacing stumble. The acoustic guitar bouquet “Reverie” that later follows is gorgeous, but repeats for too long and should have either been fleshed out or trimmed. By the time 5-minute closer “Rebirth” rolls around, instrumental fatigue has set in. Some of the other short songs, “Running from Myself” and “The Offering,” show promise but feel disjointed and underdeveloped. The latter briefly dips into gothic territory midway through, with darker riffs and a haunting organ which sounds slightly out of context here, but the style could fit Sylvanshine very well given more time and attention.

Sylvanshine has all the makings of a young artist in the process of finding his voice, both figuratively and literally. Ion Ureche has a natural talent for composing and performing guitar melodies that mirror the ever-changing spectrum of human emotion. That said, further vocal training—or the addition of a more practiced vocalist—would do wonders for the project. He also has room to grow as a songwriter, and I get the sense that his skill ceiling is high. The Offering is a respectable debut album, but improvement in these main areas will help Sylvanshine to truly stand out amongst the crowd.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: sylvanshine.bandcamp.com | facebook.com/sylvanshineMusic
Releases Worldwide: May 23rd, 2025

#25 #2025 #Alcest #BlackMetal #Blackgaze #May25 #PostBlackMetal #Review #Reviews #RomanianMetal #SelfRelease #Shoegaze #Slowdive #Sylvanshine #TheOffering #WindsOfTragedy

Sylvanshine – The Offering Review

By Killjoy

The contrast of opposites is fundamentally important in art, and Sylvanshine is an apt name to illustrate this principle. As I just learned from Wikipedia, “Sylvanshine is an optical phenomenon in which dew-covered foliage with wax-coated leaves retroreflect beams of light, as from a vehicle’s headlights. This effect sometimes makes trees appear snow-covered at night during summer.” Fittingly, Ion Ureche’s blackgaze project from Bucharest, Romania, deals with opposing themes, specifically “love and loss, hope and desperation.” Not exactly uncommon themes in blackgaze, but how clearly does Sylvanshine’s debut full-length album portray them?

The Offering oscillates fluidly between the “black” and the “gaze” at a moment’s notice. Crystalline post-black tremolo riffs shimmer and dance to and fro, intertwined with distorted guitar chords and blast beats. The dreamier guitarwork is not unlike that of Alcest’s debut Souvenirs d’un Autre Monde, with plenty of Shelter-era influence also thrown in the mix. What sets Sylvanshine apart from many of its blackgaze peers is the heavy reliance on delicate acoustic guitar plucking and strumming in the vein of early Slowdive. There are three tracks entirely dedicated to this instrument, and it features prominently in the bridges of several others to counterbalance the moody aggression with an intimate touch.

It’s clear that Ureche is a guitarist first and foremost.1 The Offering’s crisp, clear, and poignant lead guitar lines are where the emotional duality alluded to in the promo material shines. The ringing, sorrowful melodies in “Cri de Coeur” and “Rebirth” grow more hopeful as the songs progress, like sunlight breaking through cloudy fissures. If the vocals were similarly expressive, Sylvanshine would be onto something special. They remind me of Sergio Catalán’s deep growls in Winds of Tragedy, but, unfortunately, with more croak than roar. At best, they sound flat (“The Moon and Stars Above,” “Cri de Coeur”) and, at worst, they clash with the guitars (“The Offering”). To his credit, Ureche plays to his strengths by allocating the majority—if not entirety—of each song to instrumental performances.

However, this songwriting decision could have benefited from further refinement in execution. This is particularly true of the tracks that are solely instrumental. It would have been fine to start the album with one acoustic track (“Dirge for a Love”), but the placement of another (“Nothing Will Ever Be the Same”) immediately after the first proper song, “Cri de Coeur,” causes a major pacing stumble. The acoustic guitar bouquet “Reverie” that later follows is gorgeous, but repeats for too long and should have either been fleshed out or trimmed. By the time 5-minute closer “Rebirth” rolls around, instrumental fatigue has set in. Some of the other short songs, “Running from Myself” and “The Offering,” show promise but feel disjointed and underdeveloped. The latter briefly dips into gothic territory midway through, with darker riffs and a haunting organ which sounds slightly out of context here, but the style could fit Sylvanshine very well given more time and attention.

Sylvanshine has all the makings of a young artist in the process of finding his voice, both figuratively and literally. Ion Ureche has a natural talent for composing and performing guitar melodies that mirror the ever-changing spectrum of human emotion. That said, further vocal training—or the addition of a more practiced vocalist—would do wonders for the project. He also has room to grow as a songwriter, and I get the sense that his skill ceiling is high. The Offering is a respectable debut album, but improvement in these main areas will help Sylvanshine to truly stand out amongst the crowd.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: sylvanshine.bandcamp.com | facebook.com/sylvanshineMusic
Releases Worldwide: May 23rd, 2025

#25 #2025 #Alcest #BlackMetal #Blackgaze #May25 #PostBlackMetal #Review #Reviews #RomanianMetal #SelfRelease #Shoegaze #Slowdive #Sylvanshine #TheOffering #WindsOfTragedy

Deafheaven – Lonely People with Power Review

By Doom_et_Al

You never forget your first love. The sense of wonder and excitement, a world you had only heard and read about, opening up to you like a flower on a Summer’s day. Deafheaven was my first (in a metal sense). The combination of furious black meal, searing post metal, and fuzzy shoegaze, mixed with a dollop of genuine longing, totally rewired my brain. Which means that if you’re looking for a coldly analytical review of a band’s sixth album, you should probably go elsewhere. Deafheaven is part of my DNA, and a new album will always be a big deal, even if we’ve drifted apart over the years. You see, while I’ve enjoyed the band’s output since the wondrous Sunbather, it’s been clear that Deafheaven and I have been moving in different directions. And this was confirmed with Infinite Granite. I respected the band’s bravery in trying something new; I just didn’t like the result much. Shiny, pretty post-rock is nothing to be ashamed of. But the Deafheaven I loved were all about embracing the fury of black metal to highlight their emotional beats. Without that tension, Infinite Granite felt weightless. And my relationship with Deafheaven almost went from “It’s complicated” to “Splitsville”…

… Except, there was “Mombasa,” the final song on Infinite Granite. Specifically, the final 3 minutes of “Mombasa.” Deafheaven broke the shackles, George Clarke’s shrieks roared forth, and within was a reminder of what the band was capable of. Was that denouement a farewell to a style they were abandoning, or a promise that they had not forgotten their roots? Lonely People with Power answers, and boy does it answer.

After a brief intro, the band kicks off with “Magnolia,” which is one of the meaner cuts of Deafheaven’s oeuvre, and completely devoid of the shininess of anything on Infinite Granite, including the clean vocals. On first listen, I wondered if this was a repudiation of that album; an abandonment of that sound and an acknowledgement that “mistakes were made.” But as “Heathen” hits its chorus, you realize Lonely People with Power is a lot more interesting than that. You see, the post-rock sounds of Infinite Granite have not been abandoned; they’ve just been folded into Deafheaven’s existing aesthetic. Which means that not only is Lonely People with Power their most complete and harmonious record to date, but it also retroactively improves Infinite Granite.

Although Deafheaven have always been comfortable with what they are not – i.e., a “trve kvlt” black metal band, it has sometimes felt that they were less comfortable with what they are. After the stunning Sunbather, the band oscillated between “mean” (New Bermuda), “pretty” (Ordinary Corrupt Human Love), and “post rock” (Infinite Granite). Lonely People with Power somehow finds a way to incorporate all these elements in a cohesive, stunning whole. Its gnarly tracks (“Magnolia,” “Revelator”) are gnarly, it’s pretty tracks (“Heathen,” “Winona”) are downright gorgeous, and the hybrids (“The Garden Route”, “The Marvelous Orange Tree”) feel natural and complementary. What ties all of these together is the emotional core that Deafheaven bring. Among contemporaries, perhaps only Gaerea are anywhere near them in terms of the ability to achieve that ecstatic, cathartic release this music thrives on. Lonely People with Power is brimming with pain and longing and wonder and fury. For the first time, the band has the musical language to convey all of these and then some.

Performances across the board are top-notch. Dan Tracy’s exceptional drumming brings power and force to the harder tracks, and wisely cuts back during the gentler moments. George Clarke’s howls and shrieks have never been the strongest attribute of the band, but he brings a unique intensity and connection that anyone who has attended one of their live shows will attest to. But the real star of the show is lead guitarist Kerry McCoy. McCoy has battled his own demons and writer’s block to create these furious, gorgeous, compelling gems. His guitar soars and dives, and he is able to find beauty in even the ugliest, more twisted compositions.

Sunbather, for all the ridiculous accusations of being “hipster metal,” had that thing. That thing that is impossible to define but is sprinkled liberally on all the best albums. There’s a reason Sunbather remains iconic. It is too early to say whether Lonely People with Power is a match for that masterpiece, but it has that thing, too. It is Deafheaven’s most mature and complete work to date; a synthesis of everything that has come before without being derivative or overly reliant. It plays to the band’s strengths, and wears its unironic heart on its sleeve. If Deafheaven aren’t your vibe, this won’t change your mind – it is, above all, a defiantly Deafheaven album through and through. For everyone else, this is an essential and timeless collection of tracks. It reminds us of the power of metal music to connect and move. But it also fucking reminds us that Deafheaven are not just back; they never left.

Rating: 4.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Roadrunner Records
Website: deafheaven.com
Releases Worldwide: March 28th, 2025

#2025 #45 #AmericanMetal #BlackMetal #Blackgaze #Deafheaven #LonelyPeopleWithPower #Mar25 #Review #Reviews #RoadrunnerRecords

#nowPlaying

Mütterlein - Concrete Black of the upcoming album #AmidstTheFlamesMayOurOrgansResound

Aready liked the predecessor "Bring down the Flags" a lot and the first single convinced me straight away.

"Amidst the Flames, May Our Organs Resound is a musical tribute, a memorial work that explores the deep wounds left by oppression throughout history. This album is an ode to all those who have suffered in silence, especially women, whose bodies have been instrumentalised and sacrificed, like Anarcha Westcott, a tragic and emblematic figure in the history of modern gynaecology."

https://youtu.be/id_OZ5jv-ls

#Mutterlein #ConcreteBlack #Blackgaze #Industrial