📌 #3 Added to playlist:
"Prism (feat. Jo Quail)" by God Is An Astronaut
#GodIsAnAstronaut #Embers
RE: https://bsky.app/profile/did:plc:ftmrpxdkzhdh2njk3yqf23iq/post/3mxhsbh477c2r
#godisanastronaut — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #godisanastronaut, aggregated by home.social.
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God Is an Astronaut, live at Hellfest Open Air 2026 – ARTE Concert
Les frères Kinsella vous donnent rendez-vous pour une échappée belle dans l’espace depuis la scène Valley du Hellfest 2026. Au programme : post-rock épique et envolées stratosphériques.
Projet post-rock fondé en 2002 en Irlande par les frères Torsten et Niels Kinsella (toujours à la manœuvre), God Is an Astronaut s’est taillé une place de c…
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Only Echoes – Born Adrift Review By Creeping IvyMetal 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, 2026Show 2 footnotes
- Yes, Brann Dailor also sings for Mastodon, but not at the outset. ↩
- The band also cite Deafheaven and God Is an Astronaut as influences. ↩
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Monografia 👤
👤 God Is An Astronaut 📈 45 👥 304.1K
🔗 Prospettive di viaggio astrale
Storia ed evoluzione del gruppo irlandese, che ha fatto del post-rock non un semplice vessillo, ma una bussola della propria ispirazione.
#Ondarock #MusicianSky #MusicSky #Music
God Is An Astronaut -
Live report 🎸
👤 God Is An Astronaut 📈 45 👥 304.1K
🔗 God is an astronaut - il ritorno degli eroi quiet/loud
Il trio irlandese si conferma in piena forma, proponendo un set incentrato sul suo tipico quiet/loud
a cura della Redazione
#Ondarock #MusicianSky #MusicSky #Music
God Is An Astronaut -
https://www.europesays.com/fi/247516/ Festariennakko: Ankea Festival vastaa kesän parhaasta raskaamman vaihtoehtoisen musiikin kattauksesta #AnkeaFestival #Entertainment #FI #Finland #Finnish #GodIsAnAstronaut #ihsahn #katatonia #leprous #Music #Musiikki #OranssiPazuzu #Suomi #textures #ThisWillDestroyYou #viihde
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🔴 LIVE NOW ON VORTEX
📻 Vortex Night 🚀 (Krautrock & space rock)
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🎵 God Is An Astronaut - Frozen Twilight▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex Dawn 🌅 (Neoclassical, ambient, soft post-rock)
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🎵 God Is An Astronaut - All Is Violent, All Is Bright▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
#GodIsAnAstronaut, Physiker des Unmöglichen. Aus der Leere der Unendlichkeit wird die Dunkle Materie zum Klingen gebracht und der Raum mit unendlicher Dichte gefüllt. Agnostiker geraten ins Zweifeln.
https://www.gig-blog.net/2026/03/28/god-is-an-astronaut-26-03-2026-im-wizemann-stuttgart/
#Konzert #Konzertbericht #Concert #LiveMusic #LiveMusik #Konzertfotografie #ConcertPhotography #PsychedelicRock #Stuttgart
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Halocraft – The Sky Will Remember / To Leave a Single Wolf Alive [Things You Might Have Missed 2025]
I find the idea of double albums fascinating. While in many cases they may indic…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2025 #BlackNarcissus #Entertainment #GodIsanAstronaut #GreekMetal #Halocraft #InstrumentalMetal #NotMetal #PostRock #SelfRelease #TheSkyWillRemember #ThingsYouMightHaveMissed2025 #ToLeaveaSingleWolfAlive #TYMHM
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Halocraft – The Sky Will Remember / To Leave a Single Wolf Alive [Things You Might Have Missed 2025]
By Killjoy
I find the idea of double albums fascinating. While in many cases they may indicate an unchecked surge of inspiration or an unwillingness to self-edit, there are instances when the decision can feel genuinely appropriate. Halocraft, a (mostly) instrumental post-rock quartet from Greece, opted to split the final entry of a multi-album story into two parallel endings. According to their respective Bandcamp pages, The Sky Will Remember is the “imaginary happy ending,” whereas To Leave a Single Wolf Alive is the “true dark ending.” Aside from this brief description, the song titles, and sparse lyrics, Halocraft relies solely on their music to tell both sides of this narrative.
Halocraft’s “music first, atmosphere second” approach serves them well. It’s hard not to let oneself be borne away by the dreamy, leisurely guitar lines, which bear a fair resemblance to God Is an Astronaut or Black Narcissus. The Sky Will Remember is much closer to the cheerful, upbeat nature of Halocraft’s prior two full-lengths, with tons of tunes that are sticky-sweet but somehow never cloying. On the other hand, To Leave a Single Wolf Alive is a significant deviation from Halocraft’s usual style. Aside from its noticeably darker tone, it’s less reliant on hooks and, therefore, its slower burn took me a little longer to appreciate. Careful attention to both records will reveal subtle, whimsical bass counterpoints to the twin guitars.
The real strength of Halocraft’s songwriting is favoring clearly defined melodies over the sprawling free-form tendencies common in the post-rock genre. The songs loosely adhere to the tried and true pop structure, with verses and choruses that just happen to be instrumental in this case. I am, personally, partial toward The Sky Will Remember. Tracks such as “A Headful of Dreams,” “And in That Light, I Saw You,” and “Particle” never fail to lift my spirits. To Leave a Single Wolf Alive is there when I’m in the mood for something more melancholic but equally pleasant. While it does lean more heavily on repetition, there are moments that stand out, such as the slithering grooves of “And the Weak Suffer What They Must” and the faint goth-rock shades of “They Rest in Flames.” Though very different from one another, both albums are versatile enough to excel in the foreground and the background.
After spending nearly a year with both, I can confidently say that Halocraft has accomplished the difficult and paradoxical task of making two opposite yet complementary records. The Sky Will Remember and To Leave a Single Wolf Alive are a refreshing reversal of many instrumental post-rock norms, like meandering songwriting and lack of meaningful melodies. They are so easy to listen to and enjoy, no matter what mood I find myself in. I may connect with The Sky Will Remember more, but I appreciate Halocraft’s willingness and capability to expand their sound into darker avenues on To Leave a Single Wolf Alive. My hope is that on their next record they can take both of these disparate strands and weave them together. For now, though, you can’t go wrong with either choice.Tracks to Check Out (The Sky Will Remember): “A Headful of Dreams,” “And in That Light, I Saw You”
Tracks to Check Out (To Leave a Single Wolf Alive): “And the Weak Suffer What They Must,” “They Rest in Flames”
#2025 #blackNarcissus #godIsAnAstronaut #greekMetal #halocraft #instrumentalMetal #notMetal #postRock #selfRelease #theSkyWillRemember #thingsYouMightHaveMissed2025 #toLeaveASingleWolfAlive #tymhm
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https://www.europesays.com/fi/99869/ Ankea Festival tuo vaihtoehtoista musiikkia Tampereelle #AnkeaFestival #Entertainment #FI #Finland #Finnish #GodIsAnAstronaut #ihsahn #KaelanMikla #Music #Musiikki #OranssiPazuzu #Suomi #viihde
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Ba’al – The Fine Line between Heaven and Here Review
By Angry Metal Guy
By: Nameless_n00b_605
Post-anything is a tough genre to pin down. Does the music eschew genre trappings, rightfully identifying as post in the way it challenges previous norms? Or does it draw from the well that identifies as post, infusing itself with spacey tremolo riffs, heavy atmosphere, and lengthy, non-traditional tracks? If the Sheffield UK post-metallers Ba’al have anything to say, it is the latter. Ba’al showcases some real talent and variety with epic song structures and quality attempts at sampling numerous genres throughout this LP. But, with The Fine Line between Heaven and Here, I ask myself after each track, if variety is the spice of life, why does this album end up sounding so predictable?
Ba’al as a unit is impressive. Nick Gosling’s guitar work is superb, deftly switching genres on the fly, and there is skill to Ba’al’s ability to be a chameleon. Joe Stamp’s vocals are equally agile, as he seamlessly transitions from throat-searing black metal screeches to raspy death metal howls, all while infusing the more emotive elements of the album with heart. Each of these is served well by The Fine Line between Heaven and Here’s production, allowing the post-rock interludes to breathe while the massive riffs hit hard. My only real qualm is that the lovely bass that is present on their previous LP Ellipsism, is hiding away beside standout moments such as on “The Ocean That Fills a Wound.” While all the individual elements are strong and make for a cohesive track filled with variety, the band continuously returns to that same well across the album. Tracks begin to blend into one, amorphous serving of genre-blended pea soup. The first track feels the same as the last from an emotional perspective, leaving the album feeling one-note despite the variety on display.
Ba’al consistently combines black metal, post-rock, and death metal infused with hardcore (think Fuming Mouth, Gatecreeper, and Creeping Death, etc.), and even some indie rock musings across their second LP. The previously mentioned opening track, “Mother’s Concrete Womb,” encapsulates what Ba’al is doing and sets expectations for the rest of the album. Emotional piano and post-rock musings lead into more typical black metal sections that bring to mind blackgaze stalwarts Deafheaven. Ba’al surprises and delights with the sudden introduction of the aforementioned hardcore death elements. These moments are a highlight, and massive, chunky riffs make frequent appearances across the album.
The track “Well of Sorrows” is a perfect microcosm of how The Fine Line between Heaven and Here misses the mark. Eleven minutes long and sandwiched with interstitial post-rock that feels part Russian Circles and part God Is an Astronaut. No particular element hits as hard as its genre inspirations. The black metal sections are competent, the death metal riffs are groovy but lack memorable hooks, and to tie a neat bow on all of this, Ba’al consistently resorts to emotional clean singing and borderline spoken-word segments that made me think more of The National’s Alligator and Boxer era. The clean moments are effective in tracks like “Mother’s Concrete Womb,” “Wax Gorgon,” and “The Ocean That Fills a Wound,” but they can be grating and… very British (Joe Stamp’s accent comes through heavily here), for lack of a better word. This part of the album will be divisive, I imagine, and your mileage may vary.1
Ba’al is not without talent or promise; The Fine Line between Heaven and Here is a hair’s breadth away from greatness, a fact that only highlights where it falters. The Tracks “Legasov,” and “Waxwork Gorgon” are examples of tighter song structures that get right into the good stuff with memorable opening riffs and a lot of the fat trimmed from the post-rock and black metal elements. The album could cut at least fifteen minutes to give it more impact. Even the cleans should stay, but I would love to see them lean more into melody and less into spoken word or downright wailing like on “Well of Sorrows.” The intro of “The Ocean That Fills a Wound” starts in the right place with lulling, rhythmic vocals leading into a brutal explosion of blasting black metal.
The variety and talent end up being a double-edged sword for Ba’al, as what starts as impressive quickly grows predictable. If you like what Ba’al is serving up, you will have a nearly 63-minute slab of post-black metal to nourish you, but if the initial track isn’t for you, don’t expect the rest of the album to change your mind. Despite my negativity, it is from a place of love. Ba’al is an undoubtedly talented band on the cusp of true greatness. If they can edit their songs a little and lean into their best qualities, the next album may be a genre great.2
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Road to Masochist
Websites: baalbanduk.bandcamp.com | facebook.com/baalbanduk | instagram.com/baalbanduk
Releases Worldwide: July 18th, 2025#2025 #30 #BaAl #BlackMetal #BritishMetal #CreepingDeath #Deafheaven #FumingMouth #Gatecreeper #GodIsAnAstronaut #Hardcore #Jul25 #Metalcore #PostMetal #Review #Reviews #RoadToMasochist #RussianCircles #TheFineLineBetweenHeavenAndHere #TheNational
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We Lost the Sea – A Single Flower Review
By Dear Hollow
How do you follow up an album born from tragedy? While the Sydney collective We Lost the Sea began as a mammoth post-metal band with standout releases like Crimea and The Quietest Place on Earth, renowned for uncompromising weight and tantalizing patience, the tragic death of vocalist Chris Torpey silenced them, taking its teeth in the process. Grief embodied its 2015 album, not devastating for the notes and tempos that commanded it, but rather what it symbolized. Comprised of instrumental elegies to failed acts of heroism and sacrifice, Departure Songs served as both a beautiful post-rock album with an intriguing theme and a knack for instrumental hooks, as well as an homage to Torpey.
Because of this, 2019 follow-up Triumph & Disaster was doomed for disingenuousness, regardless of its quality. We Lost the Sea set out on its own path in a concept album devoted to apocalypse via climate disaster, employing many of the same tricks with more bite, but to an unfocused and inconsistent degree that landed its singles in EOY territory but its supporting cast as mediocre at best. Six years later, we’re graced with A Single Flower, an ode to revolution and defiance in its trademark groove and crescendo-laden patience. Much of it lands in Post-Rock 101, in line with the likes of Mono, God is an Astronaut, and Eluvium, with steadily building crescendos as the backbone while twinkly guitars guide the journey to crunchy metallic explosions, with some ugliness for contrast. While nowhere near the likes of its early discography, A Single Flower is a welcome improvement, as We Lost the Sea distances itself from its tragic past.
If A Single Flower is Post-Rock 101, then opener “If They Had Hearts” is the syllabus. Nearly nine minutes of steadily building twinkling, with its ugly metallic hit at the end of it all being an easy highlight. But by and large, the cuts that rely on this formula run the risk of being a weaker version of “A Gallant Gentleman” from Departure Songs, (“Bloom (Murmurations at First Light)”), that their solid songwriting and gentle crescendos are derailed by excessive length’s meandering consequences. Otherwise, appearances of anachronistic instrumentals add a jolt of confusion, such as electronic beats (“Everything Here is Black and Blinding”) and industrial harshness (“A Dance With Death”). Then there’s the elephant in the room that closer “Blood Will Have Blood” is twenty-six minutes long, which is too long despite however rebellious and driving its almost punk-like rhythms suggest.
Flowery textures are post-rock’s kryptonite, but tension between harmony eeriness is where it succeeds – and A Single Flower is no exception. While the textured plucking is a motif that courses through nearly every moment, riding the line between haunting and sanguine is a signature that elevates it. This taut dynamic gives the album a much more nuanced dynamic that recalls Godspeed You! Black Emperor, with its climactic and chaotic metal apexes recalling the collisions of agony and beauty that acts like Milanku or Audrey Fall (“A Dance With Death,” the conclusion of “Everything Here is Black and Blinding”). Terse drumming and textures of noise add to that thread of ugliness that adds contrast to the more crystalline movements, a constantly shifting palette (“Blood Will Have Blood”).
We Lost the Sea has released an imperfect album that successfully distances itself from the shadow of its more iconic past. Incorporating more of a metal presence than Departure Songs while streamlining the effort beyond the inconsistent Triumph & Disaster, A Single Flower manages to balance meditation and urgency neatly. It has its moments of post-rock paper-thin crescendo-core, and there are choices within that end up being head scratchers – and I would be remiss to neglect the album’s dummy long hour and twenty runtime – but We Lost the Sea finally feels like who they wanted to be beyond tragedy and its aftermath. Thus, A Single Flower owes its staying power more to what it represents than the instruments its contributors jam on. It suggests a good trajectory – and sometimes that’s all you need.
Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Bird’s Robe Records
Websites: welostthesea.bandcamp.com | welostthesea.com | facebook.com/welostthesea
Releases Worldwide: July 4th, 2025#25 #2025 #ASingleFlower #AudreyFall #AustralianMetal #BirdSRobeRecords #Eluvium #GodIsAnAstronaut #GodspeedYouBlackEmperor #Jul25 #Milanku #Mono #PostRock #PostMetal #Review #Reviews #WeLostTheSea
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Finally got back to the newsletter with a bumper collection of the music photography from the last few months... #mogwai #franzferdinand #swans #bonnieprincebilly #ride #nouvellevague #dizzeerascal #godisanastronaut #joquail #valley #musicphotography #photography #blackandwhitephotography #substack
CompuGlobalHyperMegaSet -
Finally got back to the newsletter with a bumper collection of the music photography from the last few months... #mogwai #franzferdinand #swans #bonnieprincebilly #ride #nouvellevague #dizzeerascal #godisanastronaut #joquail #valley #musicphotography #photography #blackandwhitephotography #substack
CompuGlobalHyperMegaSet -
God Is An Astronaut – New Years End
Maybe a bit late, thematically speaking, but this is one of my favorite songs ever. God Is An Astronaut was the first instrumental band I listened to and thought “huh, maybe we don’t need guitars with distortion all the time to make things interesting” (I was really into Joe Satriani at the time) and, for some reason, this specific song stuck with me throughout the years. I really enjoy the […]
https://www.whateverthewindbrings.com/god-is-an-astronaut-new-years-end/
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@OldBrett I always stuck to the well known #LongDistanceCalling and #GodIsAnAstronaut, but never went deeper into the genre. I probably should.
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Third #video in my #series of #top5 #songs that belong on your #playlist. Older video as trying to get moved over to #vimeo . This weeks list theme is #postrock w/ music from #mogwai #godisanastronaut #monkey3 #russiancircles and #explosionsinthesky
please feel free to #boost
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🚀 ¡Arrancamos el viaje todoterreno en #4x4 de radio @rockaxisoficial! Prepárate para escuchar los nuevos trabajos de #GodIsAnAstronaut y #BrantBjork, mientras calentamos motores para los próximos shows de #TheMission y #LivingColour.
🎧 Lunes 10 y 22 Hrs en http://Rockaxis.FM / Conduce @PabloCerda1
#Rockaxis #NuevosLanzamientos #Conciertos #Radio
🐦🔗 https://farside.link/x.com/rockaxisoficial/status/1843275452569276758#m
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We zijn alweer halverwege september. Er is deze maand nieuwe muziek uitgekomen van o.a. Boston Manor, God Is An Astronaut en Stryper. Er komen nog albums uit van Kublai Khan TX, Galneryus, Daughtry en veel meer. Check hier ons albumoverzicht! https://buff.ly/3v6gFe2
#BostonManor #GodIsAnAstronaut #Stryper #KublaiKhaiTX #Galneryus #Daughtry #Rock #Metal
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🎶 ‘Odyssey’ by God Is An Astronaut is a powerful post-rock journey from grief to hope. 🌌 With atmospheric soundscapes, dynamic instrumentation, and emotional crescendos, it captures the essence of finding light amidst darkness. #Music #PostRock #godisanastronaut
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#TheMetalDogArticleList
#louder
Awesome new prog you really must hear from God Is An Astronaut, Tomo Katsurada and more in Prog's Tracks Of The Week
Great new proggy sounds you really should check out from Lowen, Pip-eye, Red Cain and more...#GodIsAnAstronaut #Lowen #TomoKatsurada #PipeEye #RedCain #Prog #JerryEwing #ProgMagazine #TracksOfTheWeek #ProgRock #ProgressiveMusic
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#TheMetalDogArticleList
#MetalInjection
The Weekly Injection: New Releases From JORDAN RUDESS, MANY EYES & More Out This Week 9/6#JordanRudess #ManyEyes #PureReasonRevolution #Castle #GodDethroned #GodIsAnAstronaut
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[neues Album] #GodIsAnAstronaut veröffentlicht am 06.09.2024 „Embers“.
YouTube-Clip zu ‚Embers (Static Video)‘: https://www.youtube.com/watch?v=fr7i5278ul0 -
Million Moons – I May Be Some Time Review
By Iceberg
“I am just going outside and may be some time.” These were Lawrence Oates’ last words as he walked into the wild of Antarctica, crippled by frostbite and looking, purportedly, to alleviate his doomed team of the burden of his body. I May Be Some Time, the sophomore album from U.K. trio Million Moons tells the tale of the Terra Nova polar expedition through synth-heavy instrumental post-metal. Relating a story in the absence of lyrics brings with it its own difficulties, but the band had success before; 2022’s A Gap In The Clouds dealt with the chronic progression of dementia, and similarly was a wordless endeavor. Can Million Moons capture the indomitable courage and harrowing despair of the fated explorers on I May Be Some Time, or will this album ultimately perish in the icy wilderness?
Post-metal is more of a qualifier than a genre, truth be told, but Million Moons do their best to make a sound of their own. While opener “Terra Nova” may trick the listener into thinking the band employs a crystalline, ambient approach, they quickly show they favor a brawnier, more immediate brand of post. The best comparisons here would be Caspian and If These Trees Could Talk, although there are passages of God Is An Astronaut-style EDM (“Uncharted Waters,” “Intruders In A Strange World”) and the cerebral, hemiola-laced djent of TesseracT (“Voice of the Wild”). The music oscillates between lush distant piano melodies braced against arpeggiated, heavily delayed guitars (“Terra Nova,” “Aurora”) and drum-driven passages that often triple-layer rhythms between the instruments for a sound that is at once chaotic while retaining metric rigidity (“I May Be Some Time,” “Endure, Overcome”).
Million Moons excel at atmosphere-building and the contrast of icy light with digital dark. The band aren’t content with the patient building of thick chords that usually heralds post-metal; they pepper their songs with atypical harmonic shifts (“Uncharted Waters”) and odd-time drum patterns (“Intruders In A Strange World” “Endure, Overcome”). One’s tolerance for rave-style EDM and djentistry will mark how much enjoyment can be derived from I May Be Some Time; the band makes these sounds a cornerstone of the album. The drums are particularly intricate, lending a different rhythmic shape to each song, but run a little too complex against the rest of the instruments (“Terra Nova,” “Voice of the Wild”). Even with a modest DR 6, the music is undeniably pretty, with all the instruments occupying their own detailed space. Of note is that I May Be Some Time clocks in at a lithe 36 minutes; a veritable EP in the world of post-metal, one of the few genres where too little material may be a red flag.
I May Be Some Time often leaves the impression of excellent musical material that’s missing some time in development. Longer tracks do a good job of moving from section to section, careful not to overstay their welcome, but the melodic material never reaches payoff level, and the dynamics never really explode (“Uncharted Waters,” “I May Be Some Time”). Shorter tracks are more aggressive—read EDM/djent—filled with hooky grooves and frantic energy, but I miss development sections, secondary melodies, or extended guitar leads in their clipped runtimes (“Voice of the Wild,” “Intruders In A Strange Land”). But one-two punch “Endure, Overcome” and “Aurora” show what Million Moons can do when everything clicks into place. The former launches into slick polyrhythms and offbeat snare hits before transitioning into a triumphant major section, the eponymous “overcome.” And “Aurora,” a magnificent example of the instrumental long form, shows a patience in its development previously unseen on the record, twisting and climbing into a gorgeous, heartbreaking bi-chordal progression illustrating the final moments of the story’s protagonists.
As the album fades away, I’m left with an impression of what Million Moons are capable of over a pair of songs, but not an entire record. Listening back to A Gap In The Clouds it’s clear the band chose a more truncated and aggressive direction for this record, and that paid in both dividends and losses. I May Be Some Time makes for an enlightening distraction to the growls and shrieks of everyday metal life, and contains some real kernels of possibility for the young band. The bedeviled lot of you who are fans of instrumental metal should give this band a fair shake, and those of you who aren’t should check it out anyway, and expand your horizons past the Southern Seas and into the frozen unknown.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s
Label: Ripcord Records | Bandcamp
Websites: facebook.com | Bandcamp
Releases Worldwide: July 5, 2024#2024 #30 #Caspian #Djent #GodIsAnAstronaut #IMayBeSomeTime #IfTheseTreesCouldTalk #InstrumentalMetal #Jul24 #MillionMoons #PostMetal #Review #Reviews #RipcordRecords #TesseracT #UKMetal
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God Is An Astronaut announce new album
God Is An Astronaut has mesmerized audiences worldwide with their distinctive sonic tapestry both in dynamic live performances and through their recorded works. Amidst their perpetual whirlwind of touring, the Irish trio emerges once more with a freshly crafted studio album, entitled Embers, set to release on September 6, 2024, courtesy of
https://www.moshville.co.uk/news/2024/06/god-is-an-astronaut-announce-new-album/
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God Is An Astronaut unveil “Falling Leaves” video; new album arriving in September:
#GodIsAnAstronaut #FallingLeaves #NewSong #Embers #NewAlbum #NapalmRecords
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#Instrumental #SoftRock #GodIsAnAstronaut
P.S. I'm seeing lots of "Don't use YouTube" posts. If you can find this song somewhere else and I can listen/watch it without having to log-in or make an acct., then by all means share your link. Thank-you. (**I do not, nor will I ever, have an Instagram)
Edited to add: also, no coupon codes or friend codes or invite codes. I don't want me or my followers having to join a club to watch a music video x
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Dirty Air, A Playlist
#GodIsAnAstronaut, Dust and Echoes
https://youtu.be/y64mQ67P9eQ
