#godisanastronaut — Public Fediverse posts

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

#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

My Apple Music stats:

1,874 minutes

I mostly listened to;

- Napalm Death
- Ispíní na hÉireann
- And So I Watch You From Afar
- If These Trees Could Talk
- Kneecap
- Vader
- God Is An Astronaut

#AppleMusicReplay #NapalmDeath #IspíníNahÉireann #ASIWYFA #ITTCT #Kneecap #Vader #GodIsAnAstronaut

My Apple Music stats:

1,874 minutes

I mostly listened to;

- Napalm Death
- Ispíní na hÉireann
- And So I Watch You From Afar
- If These Trees Could Talk
- Kneecap
- Vader
- God Is An Astronaut

#AppleMusicReplay #NapalmDeath #IspíníNahÉireann #ASIWYFA #ITTCT #Kneecap #Vader #GodIsAnAstronaut

My Apple Music stats:

1,874 minutes

I mostly listened to;

- Napalm Death
- Ispíní na hÉireann
- And So I Watch You From Afar
- If These Trees Could Talk
- Kneecap
- Vader
- God Is An Astronaut

#AppleMusicReplay #NapalmDeath #IspíníNahÉireann #ASIWYFA #ITTCT #Kneecap #Vader #GodIsAnAstronaut

My Apple Music stats:

1,874 minutes

I mostly listened to;

- Napalm Death
- Ispíní na hÉireann
- And So I Watch You From Afar
- If These Trees Could Talk
- Kneecap
- Vader
- God Is An Astronaut

#AppleMusicReplay #NapalmDeath #IspíníNahÉireann #ASIWYFA #ITTCT #Kneecap #Vader #GodIsAnAstronaut

My Apple Music stats:

1,874 minutes

I mostly listened to;

- Napalm Death
- Ispíní na hÉireann
- And So I Watch You From Afar
- If These Trees Could Talk
- Kneecap
- Vader
- God Is An Astronaut

#AppleMusicReplay #NapalmDeath #IspíníNahÉireann #ASIWYFA #ITTCT #Kneecap #Vader #GodIsAnAstronaut

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

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

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

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

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

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

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

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

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/

#godIsAnAstronaut #music #newYearsEnd

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

https://vimeo.com/1031593764

#applemusic #spotify #zune

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

https://vimeo.com/1031593764

#applemusic #spotify #zune

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

https://vimeo.com/1031593764

#applemusic #spotify #zune

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

https://vimeo.com/1031593764

#applemusic #spotify #zune

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

https://vimeo.com/1031593764

#applemusic #spotify #zune

🚀 ¡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

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

🎶 ‘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

https://www.youtube.com/watch?v=e1KtsfFSgxk

#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...

https://www.loudersound.com/features/awesome-new-prog-you-really-must-hear-from-god-is-an-astronaut-tomo-katsurada-and-more-in-progs-tracks-of-the-week

#GodIsAnAstronaut #Lowen #TomoKatsurada #PipeEye #RedCain #Prog #JerryEwing #ProgMagazine #TracksOfTheWeek #ProgRock #ProgressiveMusic

#TheMetalDogArticleList
#MetalSucks
Sh*t That Comes Out Today: September 6, 2024

https://www.metalsucks.net/2024/09/06/sht-that-comes-out-today-september-6-2024/

#Opeth #TypeONegative #GodDethroned #GodIsAnAstronaut #JordanRudess #ManyEyes #PeelingFlesh #Castle #EvilRemains

#TheMetalDogArticleList
#MetalInjection
The Weekly Injection: New Releases From JORDAN RUDESS, MANY EYES & More Out This Week 9/6

https://metalinjection.net/upcoming-releases/heavy-new-releases/the-weekly-injection-new-releases-from-jordan-rudess-many-eyes-more-out-this-week-9-6

#JordanRudess #ManyEyes #PureReasonRevolution #Castle #GodDethroned #GodIsAnAstronaut

#TheMetalDogArticleList
#BraveWords
GOD IS AN ASTRONAUT Streaming New Single "Odyssey"

https://bravewords.com/news/god-is-an-astronaut-streaming-new-single-odyssey

#GodIsAnAstronaut #Odyssey

[neues Album] #GodIsAnAstronaut veröffentlicht am 06.09.2024 „Embers“.
YouTube-Clip zu ‚Embers (Static Video)‘: https://www.youtube.com/watch?v=fr7i5278ul0

🔗 https://gloomr.de/#1441

#Instrumental #Rock #NeuesAlbum

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/

#News #GodIsAnAstronaut

#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

https://youtu.be/Ad4T-j_bOVc?feature=shared

🤟

https://invidious.devianze.city/watch?v=WPxXSf9xvAk

#mastoradio
#godisanastronaut #rock

Dirty Air, A Playlist
#GodIsAnAstronaut, Dust and Echoes
https://youtu.be/y64mQ67P9eQ

Drumroll! I just posted my #interview with #GodIsAnAstronaut member #JamieDean! We talked about his solo project, the ongoing tour, and mutual relationships. Please enjoy! ♡

https://cardamonchai.com/2022/07/jamie-dean-interview-en/

#PostRock #PostMusic #MusicBlog #PostRockBlog #PostMetal #Music

@encelado Thank you so much! I am definitely into #TheOcean. Did you know I did an interview with Robin? I also love #GodIsAnAstronaut, #TesseracT, #RussianCircles, #Caspian, #Thot, #WeLostTheSea (also both on my blog), and many more. Here is a feature I did with #APlaceToBuryStrangers the other day: https://cardamonchai.com/2022/04/a-place-to-bury-strangers-interview-en/