#gojira — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #gojira, aggregated by home.social.
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Gojira - Born For One Thing
https://www.youtube.com/watch?v=3p85-KtgDSs
We were born for one thing
Born to face the greatest fear of all#Gojira #BornForOneThing #Metal #Music #Destiny #BreakingFear #Power #People
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Gojira - Born For One Thing
https://www.youtube.com/watch?v=3p85-KtgDSs
We were born for one thing
Born to face the greatest fear of all#Gojira #BornForOneThing #Metal #Music #Destiny #BreakingFear #Power #People
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Gojira - Born For One Thing
https://www.youtube.com/watch?v=3p85-KtgDSs
We were born for one thing
Born to face the greatest fear of all#Gojira #BornForOneThing #Metal #Music #Destiny #BreakingFear #Power #People
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Gojira - Born For One Thing
https://www.youtube.com/watch?v=3p85-KtgDSs
We were born for one thing
Born to face the greatest fear of all#Gojira #BornForOneThing #Metal #Music #Destiny #BreakingFear #Power #People
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Gojira - Born For One Thing
https://www.youtube.com/watch?v=3p85-KtgDSs
We were born for one thing
Born to face the greatest fear of all#Gojira #BornForOneThing #Metal #Music #Destiny #BreakingFear #Power #People
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With enhanced visuals and quality of life improvements, Godzilla: Destroy All Monsters Melee is back, completely remastered.
Pre-order now (PS5): amzn.to/4gp5bqU
#Games #RetroGaming #PlayStation #PS5 #Godzilla #Gojira #Kaiju #FGC #GameDev #GamingSky #PromoSky -
With enhanced visuals and quality of life improvements, Godzilla: Destroy All Monsters Melee is back, completely remastered.
Pre-order now (PS5): amzn.to/4gp5bqU
#Games #RetroGaming #PlayStation #PS5 #Godzilla #Gojira #Kaiju #FGC #GameDev #GamingSky #PromoSky -
With enhanced visuals and quality of life improvements, Godzilla: Destroy All Monsters Melee is back, completely remastered.
Pre-order now (PS5): amzn.to/4gp5bqU
#Games #RetroGaming #PlayStation #PS5 #Godzilla #Gojira #Kaiju #FGC #GameDev #GamingSky #PromoSky -
With enhanced visuals and quality of life improvements, Godzilla: Destroy All Monsters Melee is back, completely remastered.
Pre-order now (PS5): amzn.to/4gp5bqU
#Games #RetroGaming #PlayStation #PS5 #Godzilla #Gojira #Kaiju #FGC #GameDev #GamingSky #PromoSky -
With enhanced visuals and quality of life improvements, Godzilla: Destroy All Monsters Melee is back, completely remastered.
Pre-order now (PS5): amzn.to/4gp5bqU
#Games #RetroGaming #PlayStation #PS5 #Godzilla #Gojira #Kaiju #FGC #GameDev #GamingSky #PromoSky -
https://www.europesays.com/ie/700840/ Sea Sleeper – Burden of Antlers Review #20 #2026 #AmericanMetal #BurdenOfAntlers #DeathMetal #Dysgnostic #Éire #Entertainment #Gojira #IE #Ireland #Mastodon #Music #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SeaSleeper #SelfReleased #Sep26 #Veilburner
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https://www.europesays.com/uk/1217329/ Sea Sleeper – Burden of Antlers Review #20 #2026 #AmericanMetal #BurdenOfAntlers #DeathMetal #Dysgnostic #Entertainment #Gojira #Mastodon #music #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SeaSleeper #SelfReleased #Sep26 #UK #UnitedKingdom #Veilburner
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Sea Sleeper – Burden of Antlers Review By ClarkKentThe good doctor, Seuss, that is, also considered the burden of antlers. In his signature rhyming voice, Dr. Seuss tells the story of a boy imagining himself with “deer horns.” He could wear more hats! He could hang school supplies from them! He’d be the star of the football team! Yet their burdensome nature soon became apparent. With unwieldy antlers, he could no longer ride the bus, and his mom couldn’t possibly let someone with deer horns live in her impeccably clean house. In the end, he learned to accept his own body for what it was.1 Portland, Oregon’s Sea Sleeper tell their own tale of a Burden of Antlers, and they convey their message in just about an anti-Seussian a way as possible. No easy morals or rhythmic storytelling here. Gardenstale found their debut, Nostophobia, underwhelming, with its laughable lyrics and lack of memorable hooks. Yet, the debut received high year-end accolades elsewhere and was a top seller on Bandcamp in 2021. Burden of Antlers sees a honing of their “mileage may vary” approach to songcrafting, for better or worse.
In contrast to the pleasing cadence of Dr. Seuss, Sea Sleeper play an impenetrably dense, harsh brand of progressive death metal. Zoom in from the forest to the trees and you’ll hear some psychedelic influences from Mastodon as well as Gojira-style harmonics and riffs. Distortion adds layers of density, creating a maelstrom of noise early on opener “Machines of the Bombing Runs.” Their goal, it seems to me at least, is to keep listeners uncomfortable and off-guard from start to finish, and they accomplish this with frequent tonal and tempo shifts, rarely allowing musical passages to develop into anything resembling melodicism. The lengthy “Manifestor” contains many such shifts. This song mixes high energy blast beats, melodic riffs, discordant riffs, a great bass bit, an awesome solo, and significant passages where the tempo slows to allow for some grungy cleans that are kind of catchy but also kind of bad. It’s an approach that’ll leave you breathless trying to figure out whether you like it or not.
Much as Sea Sleeper love the arrhythmic approach, they do reveal a knack for some melodic death, at least in small chunks. “Burden of Antlers” most memorably establishes these melodic hooks in a very cool opener and even has a catchy chorus, sung in Jesse Cooley’s warbly, off-key cleans. “They’ll Miss You” displays some early Mastodon-style riffs, and there are more sightings of melody later on “Abysmal Trench.” Yet these melodies disappear into a morass of noise before they have time to properly develop and worm their way into your brain. They’re just one ingredient among countless others in Sea Sleeper’s varied guitar diet. Where the melodic riffs quickly fade away, Sea Sleeper has no issue allowing slower segments with melodic cleans to linger. However, the enjoyment of these portions comes with an asterisk—Cooley’s off-pitch performance leaves one cringing rather than wanting to sing along.
Burden of Antlers utilizes harsh tones and loud production values to unnerve their listeners. Cooley growls in a pained rasp that’s discomforting, yet also admittedly effective. Combined with dissonant and constantly shifting riffs, Sea Sleeper nail a style of music that’s purposely meant to deliver pain rather than pleasure. Their quest to challenge is admirable, though I wish I had a better idea as to what, thematically, they’re attempting to accomplish. When the vocals are incomprehensible and the lyrics sheet is missing, it’s difficult to know exactly what I’m being made uncomfortable about. Yet the larger problem is the production, whose loudness negatively contributes to the cacophony. While the harshness delivers pain and discomfort in more interesting ways, the high volume is just unpleasant.
While I do tend to gravitate towards more melodic music, that’s not to say the dissonant stuff doesn’t work for me. Veilburner creates weird yet entertaining music, and this year’s Dysgnostic has made a strong impression. What these acts succeed at that Sea Sleeper misses is that they write focused, well-developed songs. It’s a frustration to hear the talent from these musicians marred by purposely obtuse music and poor production choices. Sprouting a pair of deer horns, for me, wouldn’t be a burden, but a boon so long as they protect my ears from the onslaught that is Burden of Antlers.
Rating: 2.0/5.0
#20 #2026 #AmericanMetal #BurdenOfAntlers #DeathMetal #Dysgnostic #Gojira #Mastodon #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SeaSleeper #SelfReleased #Sep26 #Veilburner
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: September 18th, 2026 -
Sea Sleeper – Burden of Antlers Review By ClarkKentThe good doctor, Seuss, that is, also considered the burden of antlers. In his signature rhyming voice, Dr. Seuss tells the story of a boy imagining himself with “deer horns.” He could wear more hats! He could hang school supplies from them! He’d be the star of the football team! Yet their burdensome nature soon became apparent. With unwieldy antlers, he could no longer ride the bus, and his mom couldn’t possibly let someone with deer horns live in her impeccably clean house. In the end, he learned to accept his own body for what it was.1 Portland, Oregon’s Sea Sleeper tell their own tale of a Burden of Antlers, and they convey their message in just about an anti-Seussian a way as possible. No easy morals or rhythmic storytelling here. Gardenstale found their debut, Nostophobia, underwhelming, with its laughable lyrics and lack of memorable hooks. Yet, the debut received high year-end accolades elsewhere and was a top seller on Bandcamp in 2021. Burden of Antlers sees a honing of their “mileage may vary” approach to songcrafting, for better or worse.
In contrast to the pleasing cadence of Dr. Seuss, Sea Sleeper play an impenetrably dense, harsh brand of progressive death metal. Zoom in from the forest to the trees and you’ll hear some psychedelic influences from Mastodon as well as Gojira-style harmonics and riffs. Distortion adds layers of density, creating a maelstrom of noise early on opener “Machines of the Bombing Runs.” Their goal, it seems to me at least, is to keep listeners uncomfortable and off-guard from start to finish, and they accomplish this with frequent tonal and tempo shifts, rarely allowing musical passages to develop into anything resembling melodicism. The lengthy “Manifestor” contains many such shifts. This song mixes high energy blast beats, melodic riffs, discordant riffs, a great bass bit, an awesome solo, and significant passages where the tempo slows to allow for some grungy cleans that are kind of catchy but also kind of bad. It’s an approach that’ll leave you breathless trying to figure out whether you like it or not.
Much as Sea Sleeper love the arrhythmic approach, they do reveal a knack for some melodic death, at least in small chunks. “Burden of Antlers” most memorably establishes these melodic hooks in a very cool opener and even has a catchy chorus, sung in Jesse Cooley’s warbly, off-key cleans. “They’ll Miss You” displays some early Mastodon-style riffs, and there are more sightings of melody later on “Abysmal Trench.” Yet these melodies disappear into a morass of noise before they have time to properly develop and worm their way into your brain. They’re just one ingredient among countless others in Sea Sleeper’s varied guitar diet. Where the melodic riffs quickly fade away, Sea Sleeper has no issue allowing slower segments with melodic cleans to linger. However, the enjoyment of these portions comes with an asterisk—Cooley’s off-pitch performance leaves one cringing rather than wanting to sing along.
Burden of Antlers utilizes harsh tones and loud production values to unnerve their listeners. Cooley growls in a pained rasp that’s discomforting, yet also admittedly effective. Combined with dissonant and constantly shifting riffs, Sea Sleeper nail a style of music that’s purposely meant to deliver pain rather than pleasure. Their quest to challenge is admirable, though I wish I had a better idea as to what, thematically, they’re attempting to accomplish. When the vocals are incomprehensible and the lyrics sheet is missing, it’s difficult to know exactly what I’m being made uncomfortable about. Yet the larger problem is the production, whose loudness negatively contributes to the cacophony. While the harshness delivers pain and discomfort in more interesting ways, the high volume is just unpleasant.
While I do tend to gravitate towards more melodic music, that’s not to say the dissonant stuff doesn’t work for me. Veilburner creates weird yet entertaining music, and this year’s Dysgnostic has made a strong impression. What these acts succeed at that Sea Sleeper misses is that they write focused, well-developed songs. It’s a frustration to hear the talent from these musicians marred by purposely obtuse music and poor production choices. Sprouting a pair of deer horns, for me, wouldn’t be a burden, but a boon so long as they protect my ears from the onslaught that is Burden of Antlers.
Rating: 2.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: September 18th, 2026Show 1 footnote
- From I Wish that I Had Duck Feet, by Theo. LeSieg, Dr. Seuss’s pre-Seuss pseudonym. ↩
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Sea Sleeper – Burden of Antlers Review By ClarkKentThe good doctor, Seuss, that is, also considered the burden of antlers. In his signature rhyming voice, Dr. Seuss tells the story of a boy imagining himself with “deer horns.” He could wear more hats! He could hang school supplies from them! He’d be the star of the football team! Yet their burdensome nature soon became apparent. With unwieldy antlers, he could no longer ride the bus, and his mom couldn’t possibly let someone with deer horns live in her impeccably clean house. In the end, he learned to accept his own body for what it was.1 Portland, Oregon’s Sea Sleeper tell their own tale of a Burden of Antlers, and they convey their message in just about an anti-Seussian a way as possible. No easy morals or rhythmic storytelling here. Gardenstale found their debut, Nostophobia, underwhelming, with its laughable lyrics and lack of memorable hooks. Yet, the debut received high year-end accolades elsewhere and was a top seller on Bandcamp in 2021. Burden of Antlers sees a honing of their “mileage may vary” approach to songcrafting, for better or worse.
In contrast to the pleasing cadence of Dr. Seuss, Sea Sleeper play an impenetrably dense, harsh brand of progressive death metal. Zoom in from the forest to the trees and you’ll hear some psychedelic influences from Mastodon as well as Gojira-style harmonics and riffs. Distortion adds layers of density, creating a maelstrom of noise early on opener “Machines of the Bombing Runs.” Their goal, it seems to me at least, is to keep listeners uncomfortable and off-guard from start to finish, and they accomplish this with frequent tonal and tempo shifts, rarely allowing musical passages to develop into anything resembling melodicism. The lengthy “Manifestor” contains many such shifts. This song mixes high energy blast beats, melodic riffs, discordant riffs, a great bass bit, an awesome solo, and significant passages where the tempo slows to allow for some grungy cleans that are kind of catchy but also kind of bad. It’s an approach that’ll leave you breathless trying to figure out whether you like it or not.
Much as Sea Sleeper love the arrhythmic approach, they do reveal a knack for some melodic death, at least in small chunks. “Burden of Antlers” most memorably establishes these melodic hooks in a very cool opener and even has a catchy chorus, sung in Jesse Cooley’s warbly, off-key cleans. “They’ll Miss You” displays some early Mastodon-style riffs, and there are more sightings of melody later on “Abysmal Trench.” Yet these melodies disappear into a morass of noise before they have time to properly develop and worm their way into your brain. They’re just one ingredient among countless others in Sea Sleeper’s varied guitar diet. Where the melodic riffs quickly fade away, Sea Sleeper has no issue allowing slower segments with melodic cleans to linger. However, the enjoyment of these portions comes with an asterisk—Cooley’s off-pitch performance leaves one cringing rather than wanting to sing along.
Burden of Antlers utilizes harsh tones and loud production values to unnerve their listeners. Cooley growls in a pained rasp that’s discomforting, yet also admittedly effective. Combined with dissonant and constantly shifting riffs, Sea Sleeper nail a style of music that’s purposely meant to deliver pain rather than pleasure. Their quest to challenge is admirable, though I wish I had a better idea as to what, thematically, they’re attempting to accomplish. When the vocals are incomprehensible and the lyrics sheet is missing, it’s difficult to know exactly what I’m being made uncomfortable about. Yet the larger problem is the production, whose loudness negatively contributes to the cacophony. While the harshness delivers pain and discomfort in more interesting ways, the high volume is just unpleasant.
While I do tend to gravitate towards more melodic music, that’s not to say the dissonant stuff doesn’t work for me. Veilburner creates weird yet entertaining music, and this year’s Dysgnostic has made a strong impression. What these acts succeed at that Sea Sleeper misses is that they write focused, well-developed songs. It’s a frustration to hear the talent from these musicians marred by purposely obtuse music and poor production choices. Sprouting a pair of deer horns, for me, wouldn’t be a burden, but a boon so long as they protect my ears from the onslaught that is Burden of Antlers.
Rating: 2.0/5.0
#20 #2026 #AmericanMetal #BurdenOfAntlers #DeathMetal #Dysgnostic #Gojira #Mastodon #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SeaSleeper #SelfReleased #Sep26 #Veilburner
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: September 18th, 2026 -
Sea Sleeper – Burden of Antlers Review By ClarkKentThe good doctor, Seuss, that is, also considered the burden of antlers. In his signature rhyming voice, Dr. Seuss tells the story of a boy imagining himself with “deer horns.” He could wear more hats! He could hang school supplies from them! He’d be the star of the football team! Yet their burdensome nature soon became apparent. With unwieldy antlers, he could no longer ride the bus, and his mom couldn’t possibly let someone with deer horns live in her impeccably clean house. In the end, he learned to accept his own body for what it was.1 Portland, Oregon’s Sea Sleeper tell their own tale of a Burden of Antlers, and they convey their message in just about an anti-Seussian a way as possible. No easy morals or rhythmic storytelling here. Gardenstale found their debut, Nostophobia, underwhelming, with its laughable lyrics and lack of memorable hooks. Yet, the debut received high year-end accolades elsewhere and was a top seller on Bandcamp in 2021. Burden of Antlers sees a honing of their “mileage may vary” approach to songcrafting, for better or worse.
In contrast to the pleasing cadence of Dr. Seuss, Sea Sleeper play an impenetrably dense, harsh brand of progressive death metal. Zoom in from the forest to the trees and you’ll hear some psychedelic influences from Mastodon as well as Gojira-style harmonics and riffs. Distortion adds layers of density, creating a maelstrom of noise early on opener “Machines of the Bombing Runs.” Their goal, it seems to me at least, is to keep listeners uncomfortable and off-guard from start to finish, and they accomplish this with frequent tonal and tempo shifts, rarely allowing musical passages to develop into anything resembling melodicism. The lengthy “Manifestor” contains many such shifts. This song mixes high energy blast beats, melodic riffs, discordant riffs, a great bass bit, an awesome solo, and significant passages where the tempo slows to allow for some grungy cleans that are kind of catchy but also kind of bad. It’s an approach that’ll leave you breathless trying to figure out whether you like it or not.
Much as Sea Sleeper love the arrhythmic approach, they do reveal a knack for some melodic death, at least in small chunks. “Burden of Antlers” most memorably establishes these melodic hooks in a very cool opener and even has a catchy chorus, sung in Jesse Cooley’s warbly, off-key cleans. “They’ll Miss You” displays some early Mastodon-style riffs, and there are more sightings of melody later on “Abysmal Trench.” Yet these melodies disappear into a morass of noise before they have time to properly develop and worm their way into your brain. They’re just one ingredient among countless others in Sea Sleeper’s varied guitar diet. Where the melodic riffs quickly fade away, Sea Sleeper has no issue allowing slower segments with melodic cleans to linger. However, the enjoyment of these portions comes with an asterisk—Cooley’s off-pitch performance leaves one cringing rather than wanting to sing along.
Burden of Antlers utilizes harsh tones and loud production values to unnerve their listeners. Cooley growls in a pained rasp that’s discomforting, yet also admittedly effective. Combined with dissonant and constantly shifting riffs, Sea Sleeper nail a style of music that’s purposely meant to deliver pain rather than pleasure. Their quest to challenge is admirable, though I wish I had a better idea as to what, thematically, they’re attempting to accomplish. When the vocals are incomprehensible and the lyrics sheet is missing, it’s difficult to know exactly what I’m being made uncomfortable about. Yet the larger problem is the production, whose loudness negatively contributes to the cacophony. While the harshness delivers pain and discomfort in more interesting ways, the high volume is just unpleasant.
While I do tend to gravitate towards more melodic music, that’s not to say the dissonant stuff doesn’t work for me. Veilburner creates weird yet entertaining music, and this year’s Dysgnostic has made a strong impression. What these acts succeed at that Sea Sleeper misses is that they write focused, well-developed songs. It’s a frustration to hear the talent from these musicians marred by purposely obtuse music and poor production choices. Sprouting a pair of deer horns, for me, wouldn’t be a burden, but a boon so long as they protect my ears from the onslaught that is Burden of Antlers.
Rating: 2.0/5.0
#20 #2026 #AmericanMetal #BurdenOfAntlers #DeathMetal #Dysgnostic #Gojira #Mastodon #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SeaSleeper #SelfReleased #Sep26 #Veilburner
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: September 18th, 2026 -
Sea Sleeper – Burden of Antlers Review By ClarkKentThe good doctor, Seuss, that is, also considered the burden of antlers. In his signature rhyming voice, Dr. Seuss tells the story of a boy imagining himself with “deer horns.” He could wear more hats! He could hang school supplies from them! He’d be the star of the football team! Yet their burdensome nature soon became apparent. With unwieldy antlers, he could no longer ride the bus, and his mom couldn’t possibly let someone with deer horns live in her impeccably clean house. In the end, he learned to accept his own body for what it was.1 Portland, Oregon’s Sea Sleeper tell their own tale of a Burden of Antlers, and they convey their message in just about an anti-Seussian a way as possible. No easy morals or rhythmic storytelling here. Gardenstale found their debut, Nostophobia, underwhelming, with its laughable lyrics and lack of memorable hooks. Yet, the debut received high year-end accolades elsewhere and was a top seller on Bandcamp in 2021. Burden of Antlers sees a honing of their “mileage may vary” approach to songcrafting, for better or worse.
In contrast to the pleasing cadence of Dr. Seuss, Sea Sleeper play an impenetrably dense, harsh brand of progressive death metal. Zoom in from the forest to the trees and you’ll hear some psychedelic influences from Mastodon as well as Gojira-style harmonics and riffs. Distortion adds layers of density, creating a maelstrom of noise early on opener “Machines of the Bombing Runs.” Their goal, it seems to me at least, is to keep listeners uncomfortable and off-guard from start to finish, and they accomplish this with frequent tonal and tempo shifts, rarely allowing musical passages to develop into anything resembling melodicism. The lengthy “Manifestor” contains many such shifts. This song mixes high energy blast beats, melodic riffs, discordant riffs, a great bass bit, an awesome solo, and significant passages where the tempo slows to allow for some grungy cleans that are kind of catchy but also kind of bad. It’s an approach that’ll leave you breathless trying to figure out whether you like it or not.
Much as Sea Sleeper love the arrhythmic approach, they do reveal a knack for some melodic death, at least in small chunks. “Burden of Antlers” most memorably establishes these melodic hooks in a very cool opener and even has a catchy chorus, sung in Jesse Cooley’s warbly, off-key cleans. “They’ll Miss You” displays some early Mastodon-style riffs, and there are more sightings of melody later on “Abysmal Trench.” Yet these melodies disappear into a morass of noise before they have time to properly develop and worm their way into your brain. They’re just one ingredient among countless others in Sea Sleeper’s varied guitar diet. Where the melodic riffs quickly fade away, Sea Sleeper has no issue allowing slower segments with melodic cleans to linger. However, the enjoyment of these portions comes with an asterisk—Cooley’s off-pitch performance leaves one cringing rather than wanting to sing along.
Burden of Antlers utilizes harsh tones and loud production values to unnerve their listeners. Cooley growls in a pained rasp that’s discomforting, yet also admittedly effective. Combined with dissonant and constantly shifting riffs, Sea Sleeper nail a style of music that’s purposely meant to deliver pain rather than pleasure. Their quest to challenge is admirable, though I wish I had a better idea as to what, thematically, they’re attempting to accomplish. When the vocals are incomprehensible and the lyrics sheet is missing, it’s difficult to know exactly what I’m being made uncomfortable about. Yet the larger problem is the production, whose loudness negatively contributes to the cacophony. While the harshness delivers pain and discomfort in more interesting ways, the high volume is just unpleasant.
While I do tend to gravitate towards more melodic music, that’s not to say the dissonant stuff doesn’t work for me. Veilburner creates weird yet entertaining music, and this year’s Dysgnostic has made a strong impression. What these acts succeed at that Sea Sleeper misses is that they write focused, well-developed songs. It’s a frustration to hear the talent from these musicians marred by purposely obtuse music and poor production choices. Sprouting a pair of deer horns, for me, wouldn’t be a burden, but a boon so long as they protect my ears from the onslaught that is Burden of Antlers.
Rating: 2.0/5.0
#20 #2026 #AmericanMetal #BurdenOfAntlers #DeathMetal #Dysgnostic #Gojira #Mastodon #ProgressiveDeathMetal #ProgressiveMetal #Review #Reviews #SeaSleeper #SelfReleased #Sep26 #Veilburner
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook
Releases Worldwide: September 18th, 2026 -
Interesting that a French Metal band has to raise money for poor people in the "greatest" country of the world https://chaoszine.net/a-gojira-show-with-30-tickets-now-its-a-reality/
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Interesting that a French Metal band has to raise money for poor people in the "greatest" country of the world https://chaoszine.net/a-gojira-show-with-30-tickets-now-its-a-reality/
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Interesting that a French Metal band has to raise money for poor people in the "greatest" country of the world https://chaoszine.net/a-gojira-show-with-30-tickets-now-its-a-reality/
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Interesting that a French Metal band has to raise money for poor people in the "greatest" country of the world https://chaoszine.net/a-gojira-show-with-30-tickets-now-its-a-reality/
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With enhanced visuals and quality of life improvements, Godzilla: Destroy All Monsters Melee is back, completely remastered.
Pre-order now (PS5): amzn.to/4gp5bqU
#Games #RetroGaming #PlayStation #PS5 #Godzilla #Gojira #Kaiju #FGC #GameDev #GamingSky #PromoSky -
With enhanced visuals and quality of life improvements, Godzilla: Destroy All Monsters Melee is back, completely remastered.
Pre-order now (PS5): amzn.to/4gp5bqU
#Games #RetroGaming #PlayStation #PS5 #Godzilla #Gojira #Kaiju #FGC #GameDev #GamingSky #PromoSky -
With enhanced visuals and quality of life improvements, Godzilla: Destroy All Monsters Melee is back, completely remastered.
Pre-order now (PS5): amzn.to/4gp5bqU
#Games #RetroGaming #PlayStation #PS5 #Godzilla #Gojira #Kaiju #FGC #GameDev #GamingSky #PromoSky -
With enhanced visuals and quality of life improvements, Godzilla: Destroy All Monsters Melee is back, completely remastered.
Pre-order now (PS5): amzn.to/4gp5bqU
#Games #RetroGaming #PlayStation #PS5 #Godzilla #Gojira #Kaiju #FGC #GameDev #GamingSky #PromoSky -
With enhanced visuals and quality of life improvements, Godzilla: Destroy All Monsters Melee is back, completely remastered.
Pre-order now (PS5): amzn.to/4gp5bqU
#Games #RetroGaming #PlayStation #PS5 #Godzilla #Gojira #Kaiju #FGC #GameDev #GamingSky #PromoSky -
Godzilla Minus Zero tailer!
First-ever Japanese IMAX movie, and I so want to see it on a real IMAX screen. I need to find someone to join me on a train trip to Chicago…
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Godzilla Minus Zero tailer!
First-ever Japanese IMAX movie, and I so want to see it on a real IMAX screen. I need to find someone to join me on a train trip to Chicago…
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Godzilla Minus Zero tailer!
First-ever Japanese IMAX movie, and I so want to see it on a real IMAX screen. I need to find someone to join me on a train trip to Chicago…
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Hmm…what if Bonham wrote the drum part for Toxic Garbage Island…
Maybe I should give it a shot?
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Hmm…what if Bonham wrote the drum part for Toxic Garbage Island…
Maybe I should give it a shot?
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Hmm…what if Bonham wrote the drum part for Toxic Garbage Island…
Maybe I should give it a shot?
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Hmm…what if Bonham wrote the drum part for Toxic Garbage Island…
Maybe I should give it a shot?
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Hmm…what if Bonham wrote the drum part for Toxic Garbage Island…
Maybe I should give it a shot?
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Mario Duplantier plays Toxic Garbage Island live with Gojira.
https://youtu.be/GOaZEFtHtC4?is=VU5H6zBOyFHAyBto
This drum cam footage is great. The snare, although probably triggered, sounds like a gunshot.
I often think about Mario’s approach to drumming comparing to John Bonham. Lately I am focused on tuning drums, and taking inspiration from the sound of drummers I respect and follow.
Mario uses a very low tuning. Just above wrinkles on the toms and kick drum.
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Song: Magma
Band: #Gojira
Album: Magma
Year: 2016
Genre: #ProgMetal"After walking all the miles
Consumed into your bones
And breathing all the dust
Of the desert landI know that all along
You were doing it for absolution
It's written in your eyes"https://www.youtube.com/watch?v=dLC9CHxNHHU
Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=d21fc3d8b391486c
ttps://youtube.com/playlist?list=PLAFxPuhOACrVE1yZPBg-3twxbf-xNw012&si=JtFL4Ww40ND5Twsk -
Song: Magma
Band: #Gojira
Album: Magma
Year: 2016
Genre: #ProgMetal"After walking all the miles
Consumed into your bones
And breathing all the dust
Of the desert landI know that all along
You were doing it for absolution
It's written in your eyes"https://www.youtube.com/watch?v=dLC9CHxNHHU
Full playlist here:
https://open.spotify.com/playlist/14jd7IW32OZtlmXiOfz4eG?si=d21fc3d8b391486c
ttps://youtube.com/playlist?list=PLAFxPuhOACrVE1yZPBg-3twxbf-xNw012&si=JtFL4Ww40ND5Twsk -
Gojira – Magma (2016, France)
Continuing our journey through the epic Fedi-sourced catalogue of must-hear albums, our next spotlight is on number 798 on The List, submitted by raisedfist. This is the sixth studio album from the conscientious prog/tech death metal band that at this point was already 20 years in and had at least a couple albums hailed as flawless masterpieces under their belts. On this album though, the band decided to expand their sound into some prettier, more atmospheric territories, making this their most accessible album at the time of its release. By way of comparison, if earlier Gojira sounds like a mix of Tool and Meshuggah, here, as per a Certified Giant Gojira Fan™, it perhaps is more like Sigur Rós meets Devin Townsend or Ministry. If any of those name drops strike your fancy, I think you're going to love this amazing album.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2026/08/12/gojira-magma-2016-france/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1104432592
Happy listening! 🤘
-
Gojira – Magma (2016, France)
Continuing our journey through the epic Fedi-sourced catalogue of must-hear albums, our next spotlight is on number 798 on The List, submitted by raisedfist. This is the sixth studio album from the conscientious prog/tech death metal band that at this point was already 20 years in and had at least a couple albums hailed as flawless masterpieces under their belts. On this album though, the band decided to expand their sound into some prettier, more atmospheric territories, making this their most accessible album at the time of its release. By way of comparison, if earlier Gojira sounds like a mix of Tool and Meshuggah, here, as per a Certified Giant Gojira Fan™, it perhaps is more like Sigur Rós meets Devin Townsend or Ministry. If any of those name drops strike your fancy, I think you're going to love this amazing album.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2026/08/12/gojira-magma-2016-france/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1104432592
Happy listening! 🤘
-
Gojira – Magma (2016, France)
Continuing our journey through the epic Fedi-sourced catalogue of must-hear albums, our next spotlight is on number 798 on The List, submitted by raisedfist. This is the sixth studio album from the conscientious prog/tech death metal band that at this point was already 20 years in and had at least a couple albums hailed as flawless masterpieces under their belts. On this album though, the band decided to expand their sound into some prettier, more atmospheric territories, making this their most accessible album at the time of its release. By way of comparison, if earlier Gojira sounds like a mix of Tool and Meshuggah, here, as per a Certified Giant Gojira Fan™, it perhaps is more like Sigur Rós meets Devin Townsend or Ministry. If any of those name drops strike your fancy, I think you're going to love this amazing album.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2026/08/12/gojira-magma-2016-france/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1104432592
Happy listening! 🤘
-
Gojira – Magma (2016, France)
Continuing our journey through the epic Fedi-sourced catalogue of must-hear albums, our next spotlight is on number 798 on The List, submitted by raisedfist. This is the sixth studio album from the conscientious prog/tech death metal band that at this point was already 20 years in and had at least a couple albums hailed as flawless masterpieces under their belts. On this album though, the band decided to expand their sound into some prettier, more atmospheric territories, making this their most accessible album at the time of its release. By way of comparison, if earlier Gojira sounds like a mix of Tool and Meshuggah, here, as per a Certified Giant Gojira Fan™, it perhaps is more like Sigur Rós meets Devin Townsend or Ministry. If any of those name drops strike your fancy, I think you're going to love this amazing album.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2026/08/12/gojira-magma-2016-france/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1104432592
Happy listening! 🤘
-
Gojira – Magma (2016, France)
Continuing our journey through the epic Fedi-sourced catalogue of must-hear albums, our next spotlight is on number 798 on The List, submitted by raisedfist. This is the sixth studio album from the conscientious prog/tech death metal band that at this point was already 20 years in and had at least a couple albums hailed as flawless masterpieces under their belts. On this album though, the band decided to expand their sound into some prettier, more atmospheric territories, making this their most accessible album at the time of its release. By way of comparison, if earlier Gojira sounds like a mix of Tool and Meshuggah, here, as per a Certified Giant Gojira Fan™, it perhaps is more like Sigur Rós meets Devin Townsend or Ministry. If any of those name drops strike your fancy, I think you're going to love this amazing album.
Want to read more? See the full spotlight on the Fediverse at @1001otheralbums.com or on the blog: https://1001otheralbums.com/2026/08/12/gojira-magma-2016-france/
Want to skip straight to the music? Here's a Songlink: https://album.link/i/1104432592
Happy listening! 🤘
-
Gojira – Magma (2016, France)
Our next spotlight is on number 798 on The List, submitted by @raisedfist.
Have you been meaning to check out that metal band from that sports thing in Paris where they performed an anthem from the French Revolution while hanging out of windows with numerous beheaded Marie-Antoinettes looking on and a ship with an opera singer sailing down the road and then blood confetti spurting everywhere[1] but, like, hadn’t gotten to it yet? Samesies! Let’s fix that now…
Formed in 1996 under the name Godzilla, on this, Gojira’s sixth studio album, we catch the band 20 years in, already established as a conscientious prog/tech death metal band that is well-respected both in their home country and around the world, with at least a couple of their previous releases being among the most anticipated metal albums of that year and words such as “masterpiece” and “flawless” bandied about by reviewers. And so, with such a winning sound already figured out and dialed in by Duplantier brothers Joe (vocals, guitar) and Mario (drums), Christian Andreu (guitar), and Jean-Michel Labadie (bass), we can probably expect this album to continue along a similar vein, right? Au contraire!
As this was literally the first Gojira album I’ve even listened to, I turned to Certified Giant Gojira Fan™ Sam Dunn of BangerTV, assuming he had reviewed this album (which he had, here), to see what he had to say about how this album compares to their previous work. Well, apparently the first “very ethereal, very dreamlike” track (“The Shooting Star”) pretty much instantly signals to those familiar with Gojira that this album is quite different from the band’s previous work. And while a couple of tracks (e.g., “Silvera” and “Stranded”) are more peak-Gojira complete with lyrics having a message and “that industrial, almost…robotic sound that we love about this band,” as per Sam, “this album is certainly much simpler, much less riff-dense, much less fuck-with-the-time-signature kind of approach that they’ve become known for.”
For Sam, in fact, during that initial listen, Magma was “a roller coaster emotionally” and made him question if it was even going to be an aggressive album in the end. While he ended up giving it a decent rating (3.5 skulls out of 4), his conclusion was that this album is less complex than previous releases and that, rather than fitting the (apparently) oft-made comparison of Gojira sounding like a mix of Tool and Meshuggah, he supposed that “maybe the more apt comparison now is a bit more like Sigur Rós meets Devin Townsend or Ministry, where the lighter is getting lighter and the heavier is getting heavier.”
Having listened to only a little of both Devin Townsend and Ministry myself, I’m not sure about that bit, but I am a giant Sigur Rós fan and don’t hear that comparison at all. At any rate, I listened to the album prior to this one, L’Enfant sauvage (2012), and would definitely say that Magma is more accessible and prettier, maybe kinda sorta just a teensy weensy bit possibly drifting into that (metalheads, close your eyes) post-metal territory. However it compares to their earlier work though in terms of the amount of harsher vocals and heavy, chuggy death riffs or whatever, I think every single track on this album is fantastic, and I think it’s an incredible introduction to the band if you’re a newbie like me. And, based on the next album, Fortitude (2021),[2] the band seems to be continuing to expand their sound in the same direction as Magma so, if you like what you hear today, you’ll likely want to stay tuned to this band.
- At the Paris 2024 Olympics opening ceremonies, Gojira performed a version of “Ça ira!” (“It’ll be fine”) featuring opera singer Marina Viotti. Full performance: https://www.youtube.com/watch?v=CjJD_Y6ixBo. ↩︎
- Also reviewed by Sam (and given 4 out of 5 skulls), here: https://www.youtube.com/watch?v=0auXxxxsyKc. ↩︎
-
Gojira – Magma (2016, France)
Our next spotlight is on number 798 on The List, submitted by @raisedfist.
Have you been meaning to check out that metal band from that sports thing in Paris where they performed an anthem from the French Revolution while hanging out of windows with numerous beheaded Marie-Antoinettes looking on and a ship with an opera singer sailing down the road and then blood confetti spurting everywhere[1] but, like, hadn’t gotten to it yet? Samesies! Let’s fix that now…
Formed in 1996 under the name Godzilla, on this, Gojira’s sixth studio album, we catch the band 20 years in, already established as a conscientious prog/tech death metal band that is well-respected both in their home country and around the world, with at least a couple of their previous releases being among the most anticipated metal albums of that year and words such as “masterpiece” and “flawless” bandied about by reviewers. And so, with such a winning sound already figured out and dialed in by Duplantier brothers Joe (vocals, guitar) and Mario (drums), Christian Andreu (guitar), and Jean-Michel Labadie (bass), we can probably expect this album to continue along a similar vein, right? Au contraire!
As this was literally the first Gojira album I’ve even listened to, I turned to Certified Giant Gojira Fan™ Sam Dunn of BangerTV, assuming he had reviewed this album (which he had, here), to see what he had to say about how this album compares to their previous work. Well, apparently the first “very ethereal, very dreamlike” track (“The Shooting Star”) pretty much instantly signals to those familiar with Gojira that this album is quite different from the band’s previous work. And while a couple of tracks (e.g., “Silvera” and “Stranded”) are more peak-Gojira complete with lyrics having a message and “that industrial, almost…robotic sound that we love about this band,” as per Sam, “this album is certainly much simpler, much less riff-dense, much less fuck-with-the-time-signature kind of approach that they’ve become known for.”
For Sam, in fact, during that initial listen, Magma was “a roller coaster emotionally” and made him question if it was even going to be an aggressive album in the end. While he ended up giving it a decent rating (3.5 skulls out of 4), his conclusion was that this album is less complex than previous releases and that, rather than fitting the (apparently) oft-made comparison of Gojira sounding like a mix of Tool and Meshuggah, he supposed that “maybe the more apt comparison now is a bit more like Sigur Rós meets Devin Townsend or Ministry, where the lighter is getting lighter and the heavier is getting heavier.”
Having listened to only a little of both Devin Townsend and Ministry myself, I’m not sure about that bit, but I am a giant Sigur Rós fan and don’t hear that comparison at all. At any rate, I listened to the album prior to this one, L’Enfant sauvage (2012), and would definitely say that Magma is more accessible and prettier, maybe kinda sorta just a teensy weensy bit possibly drifting into that (metalheads, close your eyes) post-metal territory. However it compares to their earlier work though in terms of the amount of harsher vocals and heavy, chuggy death riffs or whatever, I think every single track on this album is fantastic, and I think it’s an incredible introduction to the band if you’re a newbie like me. And, based on the next album, Fortitude (2021),[2] the band seems to be continuing to expand their sound in the same direction as Magma so, if you like what you hear today, you’ll likely want to stay tuned to this band.
- At the Paris 2024 Olympics opening ceremonies, Gojira performed a version of “Ça ira!” (“It’ll be fine”) featuring opera singer Marina Viotti. Full performance: https://www.youtube.com/watch?v=CjJD_Y6ixBo. ↩︎
- Also reviewed by Sam (and given 4 out of 5 skulls), here: https://www.youtube.com/watch?v=0auXxxxsyKc. ↩︎
-
Gojira – Magma (2016, France)
Our next spotlight is on number 798 on The List, submitted by @raisedfist.
Have you been meaning to check out that metal band from that sports thing in Paris where they performed an anthem from the French Revolution while hanging out of windows with numerous beheaded Marie-Antoinettes looking on and a ship with an opera singer sailing down the road and then blood confetti spurting everywhere[1] but, like, hadn’t gotten to it yet? Samesies! Let’s fix that now…
Formed in 1996 under the name Godzilla, on this, Gojira’s sixth studio album, we catch the band 20 years in, already established as a conscientious prog/tech death metal band that is well-respected both in their home country and around the world, with at least a couple of their previous releases being among the most anticipated metal albums of that year and words such as “masterpiece” and “flawless” bandied about by reviewers. And so, with such a winning sound already figured out and dialed in by Duplantier brothers Joe (vocals, guitar) and Mario (drums), Christian Andreu (guitar), and Jean-Michel Labadie (bass), we can probably expect this album to continue along a similar vein, right? Au contraire!
As this was literally the first Gojira album I’ve even listened to, I turned to Certified Giant Gojira Fan™ Sam Dunn of BangerTV, assuming he had reviewed this album (which he had, here), to see what he had to say about how this album compares to their previous work. Well, apparently the first “very ethereal, very dreamlike” track (“The Shooting Star”) pretty much instantly signals to those familiar with Gojira that this album is quite different from the band’s previous work. And while a couple of tracks (e.g., “Silvera” and “Stranded”) are more peak-Gojira complete with lyrics having a message and “that industrial, almost…robotic sound that we love about this band,” as per Sam, “this album is certainly much simpler, much less riff-dense, much less fuck-with-the-time-signature kind of approach that they’ve become known for.”
For Sam, in fact, during that initial listen, Magma was “a roller coaster emotionally” and made him question if it was even going to be an aggressive album in the end. While he ended up giving it a decent rating (3.5 skulls out of 4), his conclusion was that this album is less complex than previous releases and that, rather than fitting the (apparently) oft-made comparison of Gojira sounding like a mix of Tool and Meshuggah, he supposed that “maybe the more apt comparison now is a bit more like Sigur Rós meets Devin Townsend or Ministry, where the lighter is getting lighter and the heavier is getting heavier.”
Having listened to only a little of both Devin Townsend and Ministry myself, I’m not sure about that bit, but I am a giant Sigur Rós fan and don’t hear that comparison at all. At any rate, I listened to the album prior to this one, L’Enfant sauvage (2012), and would definitely say that Magma is more accessible and prettier, maybe kinda sorta just a teensy weensy bit possibly drifting into that (metalheads, close your eyes) post-metal territory. However it compares to their earlier work though in terms of the amount of harsher vocals and heavy, chuggy death riffs or whatever, I think every single track on this album is fantastic, and I think it’s an incredible introduction to the band if you’re a newbie like me. And, based on the next album, Fortitude (2021),[2] the band seems to be continuing to expand their sound in the same direction as Magma so, if you like what you hear today, you’ll likely want to stay tuned to this band.
- At the Paris 2024 Olympics opening ceremonies, Gojira performed a version of “Ça ira!” (“It’ll be fine”) featuring opera singer Marina Viotti. Full performance: https://www.youtube.com/watch?v=CjJD_Y6ixBo. ↩︎
- Also reviewed by Sam (and given 4 out of 5 skulls), here: https://www.youtube.com/watch?v=0auXxxxsyKc. ↩︎
-
Gojira – Magma (2016, France)
Our next spotlight is on number 798 on The List, submitted by @raisedfist.
Have you been meaning to check out that metal band from that sports thing in Paris where they performed an anthem from the French Revolution while hanging out of windows with numerous beheaded Marie-Antoinettes looking on and a ship with an opera singer sailing down the road and then blood confetti spurting everywhere[1] but, like, hadn’t gotten to it yet? Samesies! Let’s fix that now…
Formed in 1996 under the name Godzilla, on this, Gojira’s sixth studio album, we catch the band 20 years in, already established as a conscientious prog/tech death metal band that is well-respected both in their home country and around the world, with at least a couple of their previous releases being among the most anticipated metal albums of that year and words such as “masterpiece” and “flawless” bandied about by reviewers. And so, with such a winning sound already figured out and dialed in by Duplantier brothers Joe (vocals, guitar) and Mario (drums), Christian Andreu (guitar), and Jean-Michel Labadie (bass), we can probably expect this album to continue along a similar vein, right? Au contraire!
As this was literally the first Gojira album I’ve even listened to, I turned to Certified Giant Gojira Fan™ Sam Dunn of BangerTV, assuming he had reviewed this album (which he had, here), to see what he had to say about how this album compares to their previous work. Well, apparently the first “very ethereal, very dreamlike” track (“The Shooting Star”) pretty much instantly signals to those familiar with Gojira that this album is quite different from the band’s previous work. And while a couple of tracks (e.g., “Silvera” and “Stranded”) are more peak-Gojira complete with lyrics having a message and “that industrial, almost…robotic sound that we love about this band,” as per Sam, “this album is certainly much simpler, much less riff-dense, much less fuck-with-the-time-signature kind of approach that they’ve become known for.”
For Sam, in fact, during that initial listen, Magma was “a roller coaster emotionally” and made him question if it was even going to be an aggressive album in the end. While he ended up giving it a decent rating (3.5 skulls out of 4), his conclusion was that this album is less complex than previous releases and that, rather than fitting the (apparently) oft-made comparison of Gojira sounding like a mix of Tool and Meshuggah, he supposed that “maybe the more apt comparison now is a bit more like Sigur Rós meets Devin Townsend or Ministry, where the lighter is getting lighter and the heavier is getting heavier.”
Having listened to only a little of both Devin Townsend and Ministry myself, I’m not sure about that bit, but I am a giant Sigur Rós fan and don’t hear that comparison at all. At any rate, I listened to the album prior to this one, L’Enfant sauvage (2012), and would definitely say that Magma is more accessible and prettier, maybe kinda sorta just a teensy weensy bit possibly drifting into that (metalheads, close your eyes) post-metal territory. However it compares to their earlier work though in terms of the amount of harsher vocals and heavy, chuggy death riffs or whatever, I think every single track on this album is fantastic, and I think it’s an incredible introduction to the band if you’re a newbie like me. And, based on the next album, Fortitude (2021),[2] the band seems to be continuing to expand their sound in the same direction as Magma so, if you like what you hear today, you’ll likely want to stay tuned to this band.
- At the Paris 2024 Olympics opening ceremonies, Gojira performed a version of “Ça ira!” (“It’ll be fine”) featuring opera singer Marina Viotti. Full performance: https://www.youtube.com/watch?v=CjJD_Y6ixBo. ↩︎
- Also reviewed by Sam (and given 4 out of 5 skulls), here: https://www.youtube.com/watch?v=0auXxxxsyKc. ↩︎
-
Gojira – Magma (2016, France)
Our next spotlight is on number 798 on The List, submitted by @raisedfist.
Have you been meaning to check out that metal band from that sports thing in Paris where they performed an anthem from the French Revolution while hanging out of windows with numerous beheaded Marie-Antoinettes looking on and a ship with an opera singer sailing down the road and then blood confetti spurting everywhere[1] but, like, hadn’t gotten to it yet? Samesies! Let’s fix that now…
Formed in 1996 under the name Godzilla, on this, Gojira’s sixth studio album, we catch the band 20 years in, already established as a conscientious prog/tech death metal band that is well-respected both in their home country and around the world, with at least a couple of their previous releases being among the most anticipated metal albums of that year and words such as “masterpiece” and “flawless” bandied about by reviewers. And so, with such a winning sound already figured out and dialed in by Duplantier brothers Joe (vocals, guitar) and Mario (drums), Christian Andreu (guitar), and Jean-Michel Labadie (bass), we can probably expect this album to continue along a similar vein, right? Au contraire!
As this was literally the first Gojira album I’ve even listened to, I turned to Certified Giant Gojira Fan™ Sam Dunn of BangerTV, assuming he had reviewed this album (which he had, here), to see what he had to say about how this album compares to their previous work. Well, apparently the first “very ethereal, very dreamlike” track (“The Shooting Star”) pretty much instantly signals to those familiar with Gojira that this album is quite different from the band’s previous work. And while a couple of tracks (e.g., “Silvera” and “Stranded”) are more peak-Gojira complete with lyrics having a message and “that industrial, almost…robotic sound that we love about this band,” as per Sam, “this album is certainly much simpler, much less riff-dense, much less fuck-with-the-time-signature kind of approach that they’ve become known for.”
For Sam, in fact, during that initial listen, Magma was “a roller coaster emotionally” and made him question if it was even going to be an aggressive album in the end. While he ended up giving it a decent rating (3.5 skulls out of 4), his conclusion was that this album is less complex than previous releases and that, rather than fitting the (apparently) oft-made comparison of Gojira sounding like a mix of Tool and Meshuggah, he supposed that “maybe the more apt comparison now is a bit more like Sigur Rós meets Devin Townsend or Ministry, where the lighter is getting lighter and the heavier is getting heavier.”
Having listened to only a little of both Devin Townsend and Ministry myself, I’m not sure about that bit, but I am a giant Sigur Rós fan and don’t hear that comparison at all. At any rate, I listened to the album prior to this one, L’Enfant sauvage (2012), and would definitely say that Magma is more accessible and prettier, maybe kinda sorta just a teensy weensy bit possibly drifting into that (metalheads, close your eyes) post-metal territory. However it compares to their earlier work though in terms of the amount of harsher vocals and heavy, chuggy death riffs or whatever, I think every single track on this album is fantastic, and I think it’s an incredible introduction to the band if you’re a newbie like me. And, based on the next album, Fortitude (2021),[2] the band seems to be continuing to expand their sound in the same direction as Magma so, if you like what you hear today, you’ll likely want to stay tuned to this band.
- At the Paris 2024 Olympics opening ceremonies, Gojira performed a version of “Ça ira!” (“It’ll be fine”) featuring opera singer Marina Viotti. Full performance: https://www.youtube.com/watch?v=CjJD_Y6ixBo. ↩︎
- Also reviewed by Sam (and given 4 out of 5 skulls), here: https://www.youtube.com/watch?v=0auXxxxsyKc. ↩︎
