#deafheaven — Public Fediverse posts

Motocultor 2026 – J4 : Icônes crépusculaires, sorcières féministes et stoner dominical https://www.lagrosseradio.com/webzine-metal/p214897-motocultor-2026-j4-icones-crepusculaires-sorcieres-feministes-et-stoner-dominical/

Dimanche 16 août, Carhaix
#LIVEREPORTMETAL #witchclubsatan #WEBZINEMETAL #JudasPriest #deafheaven #Motocultor #Airbourne #archenemy #castlerat #cryptopsy #shaarghot #Festival #metal #2026

Motocultor 2026 – J4 : Icônes crépusculaires, sorcières féministes et stoner dominical https://www.lagrosseradio.com/webzine-metal/p214897-motocultor-2026-j4-icones-crepusculaires-sorcieres-feministes-et-stoner-dominical/

Dimanche 16 août, Carhaix
#LIVEREPORTMETAL #witchclubsatan #WEBZINEMETAL #JudasPriest #deafheaven #Motocultor #Airbourne #archenemy #castlerat #cryptopsy #shaarghot #Festival #metal #2026

Motocultor 2026 – J4 : Icônes crépusculaires, sorcières féministes et stoner dominical https://www.lagrosseradio.com/webzine-metal/p214897-motocultor-2026-j4-icones-crepusculaires-sorcieres-feministes-et-stoner-dominical/

Dimanche 16 août, Carhaix
#LIVEREPORTMETAL #witchclubsatan #WEBZINEMETAL #JudasPriest #deafheaven #Motocultor #Airbourne #archenemy #castlerat #cryptopsy #shaarghot #Festival #metal #2026

Motocultor 2026 – J4 : Icônes crépusculaires, sorcières féministes et stoner dominical https://www.lagrosseradio.com/webzine-metal/p214897-motocultor-2026-j4-icones-crepusculaires-sorcieres-feministes-et-stoner-dominical/

Dimanche 16 août, Carhaix
#LIVEREPORTMETAL #witchclubsatan #WEBZINEMETAL #JudasPriest #deafheaven #Motocultor #Airbourne #archenemy #castlerat #cryptopsy #shaarghot #Festival #metal #2026

🔴 LIVE NOW ON VORTEX
📻 Vortex Night 🎸 (Shoegaze & Alternatif)
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🎵 deafheaven - Great Mass of Color

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

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#VortexWave #deafheaven #PostMetal #Blackgaze #2010s

https://www.europesays.com/nl/296915/ Betovering en overgave: Deafheaven in Doornroosje #Amusement #BlackMetal #blackgaze #Deafheaven #Doornroosje #Dutch #Entertainment #LiveReport #liveverslag #metal #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NewYork #NL #noiserock #postrock #SanFransisco #sfeer #shoegazse #ShowMeTheBody #ZwareMetalen

https://www.europesays.com/be-nl/132108/ Betovering en overgave: Deafheaven in Doornroosje #Amusement #BE #België #Belgium #BlackMetal #blackgaze #Deafheaven #doornroosje #Entertainment #LiveReport #liveverslag #metal #Music #Muziek #NewYork #noiserock #postrock #SanFransisco #sfeer #shoegazse #ShowMeTheBody #ZwareMetalen

Deafheaven - Live in der Sputnikhalle, Münster. Durch die Deckenfenster der Sputnikhalle dringt noch schwach das Licht der Außenwelt, als Show Me Th......
#Deafheaven #ShowMeTheBody#Sputnikhalle#Konzerte #LightMetal #PostRock #Shoegaze
https://www.musikblog.de/2026/08/deafheaven-live-in-der-sputnikhalle-muenster/

Deafheaven - Live in der Sputnikhalle, Münster. Durch die Deckenfenster der Sputnikhalle dringt noch schwach das Licht der Außenwelt, als Show Me Th......
#Deafheaven #ShowMeTheBody#Sputnikhalle#Konzerte #LightMetal #PostRock #Shoegaze
https://www.musikblog.de/2026/08/deafheaven-live-in-der-sputnikhalle-muenster/

Ça vous arrive vous parfois de partir au SUPER CONCERT DE #DEAFHEAVEN + POINT MORT en laissant les clefs de chez vous au travail parce que moi pas du tout 🫡

Ça vous arrive vous parfois de partir au SUPER CONCERT DE #DEAFHEAVEN + POINT MORT en laissant les clefs de chez vous au travail parce que moi pas du tout 🫡

Ça vous arrive vous parfois de partir au SUPER CONCERT DE #DEAFHEAVEN + POINT MORT en laissant les clefs de chez vous au travail parce que moi pas du tout 🫡

Ça vous arrive vous parfois de partir au SUPER CONCERT DE #DEAFHEAVEN + POINT MORT en laissant les clefs de chez vous au travail parce que moi pas du tout 🫡

Ça vous arrive vous parfois de partir au SUPER CONCERT DE #DEAFHEAVEN + POINT MORT en laissant les clefs de chez vous au travail parce que moi pas du tout 🫡

Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,1 vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.2 On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026

Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,1 vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.2 On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026

Show 2 footnotes

1. Yes, Brann Dailor also sings for Mastodon, but not at the outset. ↩
2. The band also cite Deafheaven and God Is an Astronaut as influences. ↩

Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,1 vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.2 On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026

Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,1 vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.2 On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026

Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,1 vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.2 On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026

#Deafheaven i do domu, bo żonisko boli gardło

#Deafheaven i do domu, bo żonisko boli gardło

#Deafheaven i do domu, bo żonisko boli gardło

J’ai un pote qui revend sa place pour le concert de #DEAFHEAVEN (première partie : POINT MORT) lundi prochain 17/08 au Petit Bain, prix coûtant (30,60 €).
Intéressé-e ? Sinon fais passer le message 🔄

J’ai un pote qui revend sa place pour le concert de #DEAFHEAVEN (première partie : POINT MORT) lundi prochain 17/08 au Petit Bain, prix coûtant (30,60 €).
Intéressé-e ? Sinon fais passer le message 🔄

J’ai un pote qui revend sa place pour le concert de #DEAFHEAVEN (première partie : POINT MORT) lundi prochain 17/08 au Petit Bain, prix coûtant (30,60 €).
Intéressé-e ? Sinon fais passer le message 🔄

J’ai un pote qui revend sa place pour le concert de #DEAFHEAVEN (première partie : POINT MORT) lundi prochain 17/08 au Petit Bain, prix coûtant (30,60 €).
Intéressé-e ? Sinon fais passer le message 🔄

J’ai un pote qui revend sa place pour le concert de #DEAFHEAVEN (première partie : POINT MORT) lundi prochain 17/08 au Petit Bain, prix coûtant (30,60 €).
Intéressé-e ? Sinon fais passer le message 🔄

Day Three – Final, Electrifying Night With Electric Callboy, Lamb Of God, Nevermore, Paradise Lost And Deafheaven. Hills Of Rock 2027 Promo Tickets Sold Out In Just One Hour

https://metalphotos.org/2026/07/30/day-three-final-electrifying-night-with-electric-callboy-lamb-of-god-nevermore-paradise-lost-and-deafheaven-hills-of-rock-2027-promo-tickets-sold-out-in-just-one-hour/

🔴 LIVE NOW ON VORTEX
📻 Vortex Night 🎸 (Shoegaze & Alternatif)
──────────────
🎵 deafheaven - Great Mass of Color

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #deafheaven #PostMetal #Blackgaze #2010s

@funkel @arnemart ok, Marduk e litt poser 🦄

Men eg tror du må spandere noe øl nå for å bevare freden 😂

#Deafheaven #Alcest #CradleOfFilth #Marduk #Gorgoroth #Satyricon #Kvelertak

Cradle må virkelig ha gitt inntrykk siden de blir nevnt 2 ganger 🫢

@funkel @arnemart ok, Marduk e litt poser 🦄

Men eg tror du må spandere noe øl nå for å bevare freden 😂

#Deafheaven #Alcest #CradleOfFilth #Marduk #Gorgoroth #Satyricon #Kvelertak

Cradle må virkelig ha gitt inntrykk siden de blir nevnt 2 ganger 🫢

@funkel @arnemart ok, Marduk e litt poser 🦄

Men eg tror du må spandere noe øl nå for å bevare freden 😂

#Deafheaven #Alcest #CradleOfFilth #Marduk #Gorgoroth #Satyricon #Kvelertak

Cradle må virkelig ha gitt inntrykk siden de blir nevnt 2 ganger 🫢

@funkel @arnemart ok, Marduk e litt poser 🦄

Men eg tror du må spandere noe øl nå for å bevare freden 😂

#Deafheaven #Alcest #CradleOfFilth #Marduk #Gorgoroth #Satyricon #Kvelertak

Cradle må virkelig ha gitt inntrykk siden de blir nevnt 2 ganger 🫢

@funkel @arnemart ok, Marduk e litt poser 🦄

Men eg tror du må spandere noe øl nå for å bevare freden 😂

#Deafheaven #Alcest #CradleOfFilth #Marduk #Gorgoroth #Satyricon #Kvelertak

Cradle må virkelig ha gitt inntrykk siden de blir nevnt 2 ganger 🫢

Mastodon have returned with the emotional new single "Your Ghost Again," a song inspired by loss, memory, and grief following the passing of former guitarist Brent Hinds.

The band has also announced The Poisonous Weapons Tour with support from Deafheaven and Alcest.

Details: https://metalinsider.net/video/mastodon-are-back-with-new-single-your-ghost-again-announce-fall-2026-tour

#Mastodon #YourGhostAgain #Deafheaven #Alcest #ProgressiveMetal #Metal #MetalNews #ThePoisonousWeaponsTour #BrentHinds

Mastodon have returned with the emotional new single "Your Ghost Again," a song inspired by loss, memory, and grief following the passing of former guitarist Brent Hinds.

The band has also announced The Poisonous Weapons Tour with support from Deafheaven and Alcest.

Details: https://metalinsider.net/video/mastodon-are-back-with-new-single-your-ghost-again-announce-fall-2026-tour

#Mastodon #YourGhostAgain #Deafheaven #Alcest #ProgressiveMetal #Metal #MetalNews #ThePoisonousWeaponsTour #BrentHinds

Mastodon have returned with the emotional new single "Your Ghost Again," a song inspired by loss, memory, and grief following the passing of former guitarist Brent Hinds.

The band has also announced The Poisonous Weapons Tour with support from Deafheaven and Alcest.

Details: https://metalinsider.net/video/mastodon-are-back-with-new-single-your-ghost-again-announce-fall-2026-tour

#Mastodon #YourGhostAgain #Deafheaven #Alcest #ProgressiveMetal #Metal #MetalNews #ThePoisonousWeaponsTour #BrentHinds

Mastodon have returned with the emotional new single "Your Ghost Again," a song inspired by loss, memory, and grief following the passing of former guitarist Brent Hinds.

The band has also announced The Poisonous Weapons Tour with support from Deafheaven and Alcest.

Details: https://metalinsider.net/video/mastodon-are-back-with-new-single-your-ghost-again-announce-fall-2026-tour

#Mastodon #YourGhostAgain #Deafheaven #Alcest #ProgressiveMetal #Metal #MetalNews #ThePoisonousWeaponsTour #BrentHinds

Mastodon have returned with the emotional new single "Your Ghost Again," a song inspired by loss, memory, and grief following the passing of former guitarist Brent Hinds.

The band has also announced The Poisonous Weapons Tour with support from Deafheaven and Alcest.

Details: https://metalinsider.net/video/mastodon-are-back-with-new-single-your-ghost-again-announce-fall-2026-tour

#Mastodon #YourGhostAgain #Deafheaven #Alcest #ProgressiveMetal #Metal #MetalNews #ThePoisonousWeaponsTour #BrentHinds

Mastodon Release New Single ‘Your Ghost Again’ Ahead Of 2026 LP

STERLING HEIGHTS, MICHIGAN – AUGUST 10: Troy Sanders (L) and Bill Kelliher of Mastadon perform at Michigan Lottery…
#NewsBeep #News #Music #Alcest #BrannDailor #BrentHinds #Deafheaven #Entertainment #KurtBallou #Mastodon #NickJohnston #Rock #TroySanders #UK #UnitedKingdom #YourGhostAgain
https://www.newsbeep.com/uk/618378/

Mastodon announce 2026 tour alongside Deafheaven and Alcest

Credit: Mastodon Tue 2 June 2026 16:55, UK Mastodon have unveiled the dates for their 2026 Poisonous Weapons…
#NewsBeep #News #Music #Deafheaven #Entertainment #Mastodon #UK #UnitedKingdom
https://www.newsbeep.com/uk/617565/

Mastodon’s New Single “Your Ghost Again” Premieres Online, Tour With Deafheaven & Alcest In The Works

Brand new Mastodon music is upon us, with the GRAMMY Award-winning sludge metallers having just launched their brand…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Alcest #Deafheaven #Entertainment #Mastodon
https://www.newsbeep.com/us/679368/

Mastodon’s New Single “Your Ghost Again” Premieres Online, Tour With Deafheaven & Alcest In The Works

Brand new Mastodon music is upon us, with the GRAMMY Award-winning sludge metallers having just launched their brand…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #Alcest #Deafheaven #Entertainment #Mastodon
https://www.newsbeep.com/us/679368/

🔴 LIVE NOW ON VORTEX
📻 Vortex Night 🎸 (Shoegaze & Alternatif)
──────────────
🎵 deafheaven - Great Mass of Color

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #deafheaven #Blackgaze #Post-Metal #2010s

DEAFHEAVEN (Estats Units) presenta nou àlbum en directe: "Under the Blue Valley" #Deafheaven #PostBlackMetal #Shoegaze #Abril2026 #EstatsUnits #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

DEAFHEAVEN (Estats Units) presenta nou àlbum en directe: "Under the Blue Valley" #Deafheaven #PostBlackMetal #Shoegaze #Abril2026 #EstatsUnits #NouÀlbumEnDirecte #Metall #Metal #MúsicaMetal #MetalMusic

A part of me is wanting to be able to properly word how deep "Infinite Granite" resonates with me to write this elaborate piece of an album review, but I cannot. It might be too close to that inner feeling center.

#Deafheaven

A part of me is wanting to be able to properly word how deep "Infinite Granite" resonates with me to write this elaborate piece of an album review, but I cannot. It might be too close to that inner feeling center.

#Deafheaven

Ready for the festival season again.
Where to next?
What’s on your list this year? 👇

📱Phone video from #Deafheaven their show at Jera On Air 28/6/2025 (Last year, I went as a visitor to Jera)
💿 Roadrunner Records
.
.
.
#blackmetal #shoegazemusic #jeraonair #metalfestival #metalfest

IG tags
@_chris_johnson_
@danieltracydrums
@george_lesage
@ianscottwaters

🤘✌️

Ready for the festival season again.
Where to next?
What’s on your list this year? 👇

📱Phone video from #Deafheaven their show at Jera On Air 28/6/2025 (Last year, I went as a visitor to Jera)
💿 Roadrunner Records
.
.
.
#blackmetal #shoegazemusic #jeraonair #metalfestival #metalfest

IG tags
@_chris_johnson_
@danieltracydrums
@george_lesage
@ianscottwaters

🤘✌️

Ready for the festival season again.
Where to next?
What’s on your list this year? 👇

📱Phone video from #Deafheaven their show at Jera On Air 28/6/2025 (Last year, I went as a visitor to Jera)
💿 Roadrunner Records
.
.
.
#blackmetal #shoegazemusic #jeraonair #metalfestival #metalfest

IG tags
@_chris_johnson_
@danieltracydrums
@george_lesage
@ianscottwaters

🤘✌️

Ready for the festival season again.
Where to next?
What’s on your list this year? 👇

📱Phone video from #Deafheaven their show at Jera On Air 28/6/2025 (Last year, I went as a visitor to Jera)
💿 Roadrunner Records
.
.
.
#blackmetal #shoegazemusic #jeraonair #metalfestival #metalfest

IG tags
@_chris_johnson_
@danieltracydrums
@george_lesage
@ianscottwaters

🤘✌️

#Deafheaven

#Deafheaven

#Deafheaven

One of the common complaints I see about blackgaze is that it tends to be toothless compared to its black metal forebear. This is part of the personal appeal to me, but, in any case, Denmark’s MØL has built a reputation for bucking that trend. They managed to impress even hardened metalheads like Mark Z., who found their 2018 debut, Jord, biting enough to shake him from his blackgaze apathy. Nuclear Blast Records scooped up MØL for the release of Diorama in 2021, which largely picked up where Jord left off. Now, after a fairly lengthy absence, we have Dreamcrush. Is MØL still interested in being one of the fiercest voices in the blackgaze genre?

While MØL was once a direct competitor to Deafheaven, they have largely moved on to a different market segment. The change is most apparent in the guitars, which traded the muscular black metal riffs for a dreamy hybrid of classic shoegaze and vintage alt-rock hooks à la The Smashing Pumpkins or Silversun Pickups. At the same time, traces of more modern acts can be detected. The pairing of cheery, punk-tinged guitar chords with blackened rasps calls to mind Noctambulist. Other times, Dreamcrush is like a more gazey, less mathy version of Rolo Tomassi. Somehow, MØL has created something that feels both fresh and nostalgic.

DREAMCRUSH by MØL

These significant overhauls that MØL made to their formula have vastly improved replayability. On previous records, the guitars did a lot of the heavy lifting to convey nuanced emotion while the vocals mainly draped a uniform blanket of fury. Now, Kim Song Sternkopf’s clean singing shares much more of the melodic load. His harsh vocal range has also been noticeably expanded from his usual high-pitched snarls, dipping into low growls during tracks such as “Young” and “A Former Blueprint.” Dreamcrush is also more dynamic from an instrumental perspective, from the jangling guitar strumming (“Små Forlis”) to dark riffing (“Young”) to delicate strings (“Favour”). While I do enjoy MØL’s prior work, it didn’t quite escape a sense of homogeneity until now.

There are, however, a few small kinks in MØL’s newfound musical direction. Even though their melodies are distinctive, the song structures become a tad predictable, often alternating between clean-sung verses and lead guitar/harsh vocal choruses. Also, several songs have limp, unsatisfying conclusions (“DREAM,” “Dissonance”), slightly hampering the overall flow. Finally, Dreamcrush’s midsection (“Hud,” “Garland,” and “Favour”) is considerably softer than usual for MØL, which I personally appreciate but may cause some existing fans to take issue. I will say, however, that these tracks feature the more dazzling guitar solos, and the tail end of Dreamcrush hearkens more to MØL’s former aggression. Dreamcrush’s individual track lengths have been trimmed to reach an easily digestible total runtime of 42 minutes.

MØL continues to defy genre stereotypes, though in a much different way than before. No longer content to zoom past other groups in the blackgaze lane, they unexpectedly shifted to various other rock subgenres. Some longtime fans may be disappointed by the waning black metal, but MØL still juxtaposes ethereal and heavy with the skill that many of their peers strive for but rarely achieve. I can genuinely say that Dreamcrush is my favorite MØL release to date, and they have removed many of the barriers that were preventing me from fully embracing fandom. While Dreamcrush may not perfectly come together as a whole, it proves that MØL isn’t inclined to sit still and grow complacent.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: moeldk.bandcamp.com | molband.com | facebook.com/moeldk
Releases Worldwide: January 30th, 2026

One of the common complaints I see about blackgaze is that it tends to be toothless compared to its black metal forebear. This is part of the personal appeal to me, but, in any case, Denmark’s MØL has built a reputation for bucking that trend. They managed to impress even hardened metalheads like Mark Z., who found their 2018 debut, Jord, biting enough to shake him from his blackgaze apathy. Nuclear Blast Records scooped up MØL for the release of Diorama in 2021, which largely picked up where Jord left off. Now, after a fairly lengthy absence, we have Dreamcrush. Is MØL still interested in being one of the fiercest voices in the blackgaze genre?

While MØL was once a direct competitor to Deafheaven, they have largely moved on to a different market segment. The change is most apparent in the guitars, which traded the muscular black metal riffs for a dreamy hybrid of classic shoegaze and vintage alt-rock hooks à la The Smashing Pumpkins or Silversun Pickups. At the same time, traces of more modern acts can be detected. The pairing of cheery, punk-tinged guitar chords with blackened rasps calls to mind Noctambulist. Other times, Dreamcrush is like a more gazey, less mathy version of Rolo Tomassi. Somehow, MØL has created something that feels both fresh and nostalgic.

DREAMCRUSH by MØL

These significant overhauls that MØL made to their formula have vastly improved replayability. On previous records, the guitars did a lot of the heavy lifting to convey nuanced emotion while the vocals mainly draped a uniform blanket of fury. Now, Kim Song Sternkopf’s clean singing shares much more of the melodic load. His harsh vocal range has also been noticeably expanded from his usual high-pitched snarls, dipping into low growls during tracks such as “Young” and “A Former Blueprint.” Dreamcrush is also more dynamic from an instrumental perspective, from the jangling guitar strumming (“Små Forlis”) to dark riffing (“Young”) to delicate strings (“Favour”). While I do enjoy MØL’s prior work, it didn’t quite escape a sense of homogeneity until now.

There are, however, a few small kinks in MØL’s newfound musical direction. Even though their melodies are distinctive, the song structures become a tad predictable, often alternating between clean-sung verses and lead guitar/harsh vocal choruses. Also, several songs have limp, unsatisfying conclusions (“DREAM,” “Dissonance”), slightly hampering the overall flow. Finally, Dreamcrush’s midsection (“Hud,” “Garland,” and “Favour”) is considerably softer than usual for MØL, which I personally appreciate but may cause some existing fans to take issue. I will say, however, that these tracks feature the more dazzling guitar solos, and the tail end of Dreamcrush hearkens more to MØL’s former aggression. Dreamcrush’s individual track lengths have been trimmed to reach an easily digestible total runtime of 42 minutes.

MØL continues to defy genre stereotypes, though in a much different way than before. No longer content to zoom past other groups in the blackgaze lane, they unexpectedly shifted to various other rock subgenres. Some longtime fans may be disappointed by the waning black metal, but MØL still juxtaposes ethereal and heavy with the skill that many of their peers strive for but rarely achieve. I can genuinely say that Dreamcrush is my favorite MØL release to date, and they have removed many of the barriers that were preventing me from fully embracing fandom. While Dreamcrush may not perfectly come together as a whole, it proves that MØL isn’t inclined to sit still and grow complacent.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: moeldk.bandcamp.com | molband.com | facebook.com/moeldk
Releases Worldwide: January 30th, 2026

One of the common complaints I see about blackgaze is that it tends to be toothless compared to its black metal forebear. This is part of the personal appeal to me, but, in any case, Denmark’s MØL has built a reputation for bucking that trend. They managed to impress even hardened metalheads like Mark Z., who found their 2018 debut, Jord, biting enough to shake him from his blackgaze apathy. Nuclear Blast Records scooped up MØL for the release of Diorama in 2021, which largely picked up where Jord left off. Now, after a fairly lengthy absence, we have Dreamcrush. Is MØL still interested in being one of the fiercest voices in the blackgaze genre?

While MØL was once a direct competitor to Deafheaven, they have largely moved on to a different market segment. The change is most apparent in the guitars, which traded the muscular black metal riffs for a dreamy hybrid of classic shoegaze and vintage alt-rock hooks à la The Smashing Pumpkins or Silversun Pickups. At the same time, traces of more modern acts can be detected. The pairing of cheery, punk-tinged guitar chords with blackened rasps calls to mind Noctambulist. Other times, Dreamcrush is like a more gazey, less mathy version of Rolo Tomassi. Somehow, MØL has created something that feels both fresh and nostalgic.

DREAMCRUSH by MØL

These significant overhauls that MØL made to their formula have vastly improved replayability. On previous records, the guitars did a lot of the heavy lifting to convey nuanced emotion while the vocals mainly draped a uniform blanket of fury. Now, Kim Song Sternkopf’s clean singing shares much more of the melodic load. His harsh vocal range has also been noticeably expanded from his usual high-pitched snarls, dipping into low growls during tracks such as “Young” and “A Former Blueprint.” Dreamcrush is also more dynamic from an instrumental perspective, from the jangling guitar strumming (“Små Forlis”) to dark riffing (“Young”) to delicate strings (“Favour”). While I do enjoy MØL’s prior work, it didn’t quite escape a sense of homogeneity until now.

There are, however, a few small kinks in MØL’s newfound musical direction. Even though their melodies are distinctive, the song structures become a tad predictable, often alternating between clean-sung verses and lead guitar/harsh vocal choruses. Also, several songs have limp, unsatisfying conclusions (“DREAM,” “Dissonance”), slightly hampering the overall flow. Finally, Dreamcrush’s midsection (“Hud,” “Garland,” and “Favour”) is considerably softer than usual for MØL, which I personally appreciate but may cause some existing fans to take issue. I will say, however, that these tracks feature the more dazzling guitar solos, and the tail end of Dreamcrush hearkens more to MØL’s former aggression. Dreamcrush’s individual track lengths have been trimmed to reach an easily digestible total runtime of 42 minutes.

MØL continues to defy genre stereotypes, though in a much different way than before. No longer content to zoom past other groups in the blackgaze lane, they unexpectedly shifted to various other rock subgenres. Some longtime fans may be disappointed by the waning black metal, but MØL still juxtaposes ethereal and heavy with the skill that many of their peers strive for but rarely achieve. I can genuinely say that Dreamcrush is my favorite MØL release to date, and they have removed many of the barriers that were preventing me from fully embracing fandom. While Dreamcrush may not perfectly come together as a whole, it proves that MØL isn’t inclined to sit still and grow complacent.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast Records
Websites: moeldk.bandcamp.com | molband.com | facebook.com/moeldk
Releases Worldwide: January 30th, 2026

Hättet ihr mir ruhig sagen können, dass in meiner AOTY-Liste 25 die Scheibe von Deafheaven fehlt. Komme erst jetzt richtig und in Ruhe dazu und bin begeistert 🖤 #Deafheaven

gosh i love this song 🥺

https://www.youtube.com/watch?v=-HDlGAyiWF4

#songoftheday #sunbather #deafheaven