#holyfawn — Public Fediverse posts

🔴 LIVE NOW ON VORTEX
📻 Vortex Night 🎸 (Shoegaze & Alternatif)
──────────────
🎵 Holy Fawn - Dark Stone

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

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

#VortexWave #HolyFawn #PostRock #Shoegaze #2020s

🔴 LIVE NOW ON VORTEX
📻 Vortex Night 🎸 (Shoegaze & Alternatif)
──────────────
🎵 Holy Fawn - Dark Stone

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

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

#VortexWave #HolyFawn #PostRock #Shoegaze #2000s

🔴 LIVE NOW ON VORTEX
📻 Vortex Night 🎸 (Shoegaze & Alternatif)
──────────────
🎵 Holy Fawn - Dark Stone

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

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

#VortexWave #HolyFawn #PostRock #Shoegaze #2020s

One of metal’s most universal and recognizable traits is loudness. But, as obvious as this statement is, it’s the way that this loudness is utilized that differentiates individual artists from one another. In the promo sheet for Sotera, Joseph E. Martinez describes Junius as “heavy music that prioritizes movement and melody over aggression for its own sake,” a mission statement that aligns perfectly with what I prize in any metal subgenre that I listen to. It’s been nine years since 2017’s Eternal Rituals for the Accretion of Light, the final installment in a previous trilogy of albums. On Sotera, these Bostonians have settled on a looser concept revolving around an assortment of feminine divine figures. All that remains to be seen is how strong a celestial connection Junius will forge with longtime and prospective fans.

The passage of time has wrought a few changes to Junius’s sound. Their post-metal core is still largely intact, but it is now laced with considerable shoegaze influence. The resulting effect is an augmentation of the wall-of-sound techniques upon which both genres rely. This hazy combination frequently reminds me of Holy Fawn’s ebb and flow between ethereal and enraged. Sotera is slightly punchier than its predecessors as well. This is not exactly in a poppy way, although Martinez’s singing often adopts a dark, brooding tone like that of Depeche Mode. Also, at times, the guitar riffs are meaner, and the growls are fiercer. The culmination of these alterations causes Sotera to exude a larger-than-life sensation, which I imagine is even better experienced via concert speakers than in a recorded setting.

Sotera unfolds like a ritualistic energy transfer. The opening songs (“Disciple” and “The Oracle”) are characterized by radiant singing atop a swirling undercurrent of guitars, which periodically take on a harsher edge. But, as the album advances, most of this melodic power transitions from the vocals to the guitars. The leads that open “Serpent” uncoil and slither to expose subtle intricacies as the vocals become a low, gravelly incantation. Ultimately, “Scythian” arrives like a resplendent rebirth with catchy guitar riffs and the drumming briefly dipping into blast beats for the first and only time. “Initiatrix,” placed squarely in the middle of Sotera, is the intersection of these melodic entities as they produce the highlight of the record.

In other ways, Sotera’s sense of progression is less than cohesive. The most conspicuous example is “Lucifera,” a wistful dream pop-tinged number which doesn’t fit in as well stylistically, but probably would have worked better if it were only 3 minutes long instead of nearly 6. Overall, though, Junius remains very good at self-editing—no track on Sotera exceeds 7 minutes, and the entire runtime is a modest 40. Additionally, a few of the transitions (“Scythian,” “Darkwater”) and conclusions (“Initiatrix,” “Serpent”) within certain songs are abrupt, creating a momentarily jerky flow. That said, when I mentally lean back and let the mood envelope me, I don’t notice it much. I would believe it if someone told me that these are minor scars from many revisions over a long writing period.

Like an onion, Sotera may not appear auspicious on the surface, but repeated dissection uncovers many layers. Depending on your emotional frame of mind, it might even cause you to tear up a bit at times. Junius has crafted some of their most engaging soundscapes to date, possibly as a result of focusing more on individual songs. Although a few of these end before (“Initiatrix”) and after (“Lucifera”), I would like all of Sotera’s melodic elements to join together in fascinating ways. Whatever one’s preferred form of spirituality may be, Junius offers food for thought as well as the soul.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records
Websites: junius.bandcamp.com | juniusmusic.com | facebook.com/juniusmusic
Releases Worldwide: June 26th, 2026

One of metal’s most universal and recognizable traits is loudness. But, as obvious as this statement is, it’s the way that this loudness is utilized that differentiates individual artists from one another. In the promo sheet for Sotera, Joseph E. Martinez describes Junius as “heavy music that prioritizes movement and melody over aggression for its own sake,” a mission statement that aligns perfectly with what I prize in any metal subgenre that I listen to. It’s been nine years since 2017’s Eternal Rituals for the Accretion of Light, the final installment in a previous trilogy of albums. On Sotera, these Bostonians have settled on a looser concept revolving around an assortment of feminine divine figures. All that remains to be seen is how strong a celestial connection Junius will forge with longtime and prospective fans.

The passage of time has wrought a few changes to Junius’s sound. Their post-metal core is still largely intact, but it is now laced with considerable shoegaze influence. The resulting effect is an augmentation of the wall-of-sound techniques upon which both genres rely. This hazy combination frequently reminds me of Holy Fawn’s ebb and flow between ethereal and enraged. Sotera is slightly punchier than its predecessors as well. This is not exactly in a poppy way, although Martinez’s singing often adopts a dark, brooding tone like that of Depeche Mode. Also, at times, the guitar riffs are meaner, and the growls are fiercer. The culmination of these alterations causes Sotera to exude a larger-than-life sensation, which I imagine is even better experienced via concert speakers than in a recorded setting.

Sotera unfolds like a ritualistic energy transfer. The opening songs (“Disciple” and “The Oracle”) are characterized by radiant singing atop a swirling undercurrent of guitars, which periodically take on a harsher edge. But, as the album advances, most of this melodic power transitions from the vocals to the guitars. The leads that open “Serpent” uncoil and slither to expose subtle intricacies as the vocals become a low, gravelly incantation. Ultimately, “Scythian” arrives like a resplendent rebirth with catchy guitar riffs and the drumming briefly dipping into blast beats for the first and only time. “Initiatrix,” placed squarely in the middle of Sotera, is the intersection of these melodic entities as they produce the highlight of the record.

In other ways, Sotera’s sense of progression is less than cohesive. The most conspicuous example is “Lucifera,” a wistful dream pop-tinged number which doesn’t fit in as well stylistically, but probably would have worked better if it were only 3 minutes long instead of nearly 6. Overall, though, Junius remains very good at self-editing—no track on Sotera exceeds 7 minutes, and the entire runtime is a modest 40. Additionally, a few of the transitions (“Scythian,” “Darkwater”) and conclusions (“Initiatrix,” “Serpent”) within certain songs are abrupt, creating a momentarily jerky flow. That said, when I mentally lean back and let the mood envelope me, I don’t notice it much. I would believe it if someone told me that these are minor scars from many revisions over a long writing period.

Like an onion, Sotera may not appear auspicious on the surface, but repeated dissection uncovers many layers. Depending on your emotional frame of mind, it might even cause you to tear up a bit at times. Junius has crafted some of their most engaging soundscapes to date, possibly as a result of focusing more on individual songs. Although a few of these end before (“Initiatrix”) and after (“Lucifera”), I would like all of Sotera’s melodic elements to join together in fascinating ways. Whatever one’s preferred form of spirituality may be, Junius offers food for thought as well as the soul.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records
Websites: junius.bandcamp.com | juniusmusic.com | facebook.com/juniusmusic
Releases Worldwide: June 26th, 2026

One of metal’s most universal and recognizable traits is loudness. But, as obvious as this statement is, it’s the way that this loudness is utilized that differentiates individual artists from one another. In the promo sheet for Sotera, Joseph E. Martinez describes Junius as “heavy music that prioritizes movement and melody over aggression for its own sake,” a mission statement that aligns perfectly with what I prize in any metal subgenre that I listen to. It’s been nine years since 2017’s Eternal Rituals for the Accretion of Light, the final installment in a previous trilogy of albums. On Sotera, these Bostonians have settled on a looser concept revolving around an assortment of feminine divine figures. All that remains to be seen is how strong a celestial connection Junius will forge with longtime and prospective fans.

The passage of time has wrought a few changes to Junius’s sound. Their post-metal core is still largely intact, but it is now laced with considerable shoegaze influence. The resulting effect is an augmentation of the wall-of-sound techniques upon which both genres rely. This hazy combination frequently reminds me of Holy Fawn’s ebb and flow between ethereal and enraged. Sotera is slightly punchier than its predecessors as well. This is not exactly in a poppy way, although Martinez’s singing often adopts a dark, brooding tone like that of Depeche Mode. Also, at times, the guitar riffs are meaner, and the growls are fiercer. The culmination of these alterations causes Sotera to exude a larger-than-life sensation, which I imagine is even better experienced via concert speakers than in a recorded setting.

Sotera unfolds like a ritualistic energy transfer. The opening songs (“Disciple” and “The Oracle”) are characterized by radiant singing atop a swirling undercurrent of guitars, which periodically take on a harsher edge. But, as the album advances, most of this melodic power transitions from the vocals to the guitars. The leads that open “Serpent” uncoil and slither to expose subtle intricacies as the vocals become a low, gravelly incantation. Ultimately, “Scythian” arrives like a resplendent rebirth with catchy guitar riffs and the drumming briefly dipping into blast beats for the first and only time. “Initiatrix,” placed squarely in the middle of Sotera, is the intersection of these melodic entities as they produce the highlight of the record.

In other ways, Sotera’s sense of progression is less than cohesive. The most conspicuous example is “Lucifera,” a wistful dream pop-tinged number which doesn’t fit in as well stylistically, but probably would have worked better if it were only 3 minutes long instead of nearly 6. Overall, though, Junius remains very good at self-editing—no track on Sotera exceeds 7 minutes, and the entire runtime is a modest 40. Additionally, a few of the transitions (“Scythian,” “Darkwater”) and conclusions (“Initiatrix,” “Serpent”) within certain songs are abrupt, creating a momentarily jerky flow. That said, when I mentally lean back and let the mood envelope me, I don’t notice it much. I would believe it if someone told me that these are minor scars from many revisions over a long writing period.

Like an onion, Sotera may not appear auspicious on the surface, but repeated dissection uncovers many layers. Depending on your emotional frame of mind, it might even cause you to tear up a bit at times. Junius has crafted some of their most engaging soundscapes to date, possibly as a result of focusing more on individual songs. Although a few of these end before (“Initiatrix”) and after (“Lucifera”), I would like all of Sotera’s melodic elements to join together in fascinating ways. Whatever one’s preferred form of spirituality may be, Junius offers food for thought as well as the soul.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records
Websites: junius.bandcamp.com | juniusmusic.com | facebook.com/juniusmusic
Releases Worldwide: June 26th, 2026

One of metal’s most universal and recognizable traits is loudness. But, as obvious as this statement is, it’s the way that this loudness is utilized that differentiates individual artists from one another. In the promo sheet for Sotera, Joseph E. Martinez describes Junius as “heavy music that prioritizes movement and melody over aggression for its own sake,” a mission statement that aligns perfectly with what I prize in any metal subgenre that I listen to. It’s been nine years since 2017’s Eternal Rituals for the Accretion of Light, the final installment in a previous trilogy of albums. On Sotera, these Bostonians have settled on a looser concept revolving around an assortment of feminine divine figures. All that remains to be seen is how strong a celestial connection Junius will forge with longtime and prospective fans.

The passage of time has wrought a few changes to Junius’s sound. Their post-metal core is still largely intact, but it is now laced with considerable shoegaze influence. The resulting effect is an augmentation of the wall-of-sound techniques upon which both genres rely. This hazy combination frequently reminds me of Holy Fawn’s ebb and flow between ethereal and enraged. Sotera is slightly punchier than its predecessors as well. This is not exactly in a poppy way, although Martinez’s singing often adopts a dark, brooding tone like that of Depeche Mode. Also, at times, the guitar riffs are meaner, and the growls are fiercer. The culmination of these alterations causes Sotera to exude a larger-than-life sensation, which I imagine is even better experienced via concert speakers than in a recorded setting.

Sotera unfolds like a ritualistic energy transfer. The opening songs (“Disciple” and “The Oracle”) are characterized by radiant singing atop a swirling undercurrent of guitars, which periodically take on a harsher edge. But, as the album advances, most of this melodic power transitions from the vocals to the guitars. The leads that open “Serpent” uncoil and slither to expose subtle intricacies as the vocals become a low, gravelly incantation. Ultimately, “Scythian” arrives like a resplendent rebirth with catchy guitar riffs and the drumming briefly dipping into blast beats for the first and only time. “Initiatrix,” placed squarely in the middle of Sotera, is the intersection of these melodic entities as they produce the highlight of the record.

In other ways, Sotera’s sense of progression is less than cohesive. The most conspicuous example is “Lucifera,” a wistful dream pop-tinged number which doesn’t fit in as well stylistically, but probably would have worked better if it were only 3 minutes long instead of nearly 6. Overall, though, Junius remains very good at self-editing—no track on Sotera exceeds 7 minutes, and the entire runtime is a modest 40. Additionally, a few of the transitions (“Scythian,” “Darkwater”) and conclusions (“Initiatrix,” “Serpent”) within certain songs are abrupt, creating a momentarily jerky flow. That said, when I mentally lean back and let the mood envelope me, I don’t notice it much. I would believe it if someone told me that these are minor scars from many revisions over a long writing period.

Like an onion, Sotera may not appear auspicious on the surface, but repeated dissection uncovers many layers. Depending on your emotional frame of mind, it might even cause you to tear up a bit at times. Junius has crafted some of their most engaging soundscapes to date, possibly as a result of focusing more on individual songs. Although a few of these end before (“Initiatrix”) and after (“Lucifera”), I would like all of Sotera’s melodic elements to join together in fascinating ways. Whatever one’s preferred form of spirituality may be, Junius offers food for thought as well as the soul.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records
Websites: junius.bandcamp.com | juniusmusic.com | facebook.com/juniusmusic
Releases Worldwide: June 26th, 2026

One of metal’s most universal and recognizable traits is loudness. But, as obvious as this statement is, it’s the way that this loudness is utilized that differentiates individual artists from one another. In the promo sheet for Sotera, Joseph E. Martinez describes Junius as “heavy music that prioritizes movement and melody over aggression for its own sake,” a mission statement that aligns perfectly with what I prize in any metal subgenre that I listen to. It’s been nine years since 2017’s Eternal Rituals for the Accretion of Light, the final installment in a previous trilogy of albums. On Sotera, these Bostonians have settled on a looser concept revolving around an assortment of feminine divine figures. All that remains to be seen is how strong a celestial connection Junius will forge with longtime and prospective fans.

The passage of time has wrought a few changes to Junius’s sound. Their post-metal core is still largely intact, but it is now laced with considerable shoegaze influence. The resulting effect is an augmentation of the wall-of-sound techniques upon which both genres rely. This hazy combination frequently reminds me of Holy Fawn’s ebb and flow between ethereal and enraged. Sotera is slightly punchier than its predecessors as well. This is not exactly in a poppy way, although Martinez’s singing often adopts a dark, brooding tone like that of Depeche Mode. Also, at times, the guitar riffs are meaner, and the growls are fiercer. The culmination of these alterations causes Sotera to exude a larger-than-life sensation, which I imagine is even better experienced via concert speakers than in a recorded setting.

Sotera unfolds like a ritualistic energy transfer. The opening songs (“Disciple” and “The Oracle”) are characterized by radiant singing atop a swirling undercurrent of guitars, which periodically take on a harsher edge. But, as the album advances, most of this melodic power transitions from the vocals to the guitars. The leads that open “Serpent” uncoil and slither to expose subtle intricacies as the vocals become a low, gravelly incantation. Ultimately, “Scythian” arrives like a resplendent rebirth with catchy guitar riffs and the drumming briefly dipping into blast beats for the first and only time. “Initiatrix,” placed squarely in the middle of Sotera, is the intersection of these melodic entities as they produce the highlight of the record.

In other ways, Sotera’s sense of progression is less than cohesive. The most conspicuous example is “Lucifera,” a wistful dream pop-tinged number which doesn’t fit in as well stylistically, but probably would have worked better if it were only 3 minutes long instead of nearly 6. Overall, though, Junius remains very good at self-editing—no track on Sotera exceeds 7 minutes, and the entire runtime is a modest 40. Additionally, a few of the transitions (“Scythian,” “Darkwater”) and conclusions (“Initiatrix,” “Serpent”) within certain songs are abrupt, creating a momentarily jerky flow. That said, when I mentally lean back and let the mood envelope me, I don’t notice it much. I would believe it if someone told me that these are minor scars from many revisions over a long writing period.

Like an onion, Sotera may not appear auspicious on the surface, but repeated dissection uncovers many layers. Depending on your emotional frame of mind, it might even cause you to tear up a bit at times. Junius has crafted some of their most engaging soundscapes to date, possibly as a result of focusing more on individual songs. Although a few of these end before (“Initiatrix”) and after (“Lucifera”), I would like all of Sotera’s melodic elements to join together in fascinating ways. Whatever one’s preferred form of spirituality may be, Junius offers food for thought as well as the soul.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prosthetic Records
Websites: junius.bandcamp.com | juniusmusic.com | facebook.com/juniusmusic
Releases Worldwide: June 26th, 2026

🔴 LIVE NOW ON VORTEX
📻 Vortex Night 🎸 (Shoegaze & Alternatif)
──────────────
🎵 Holy Fawn - Dark Stone

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

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

#VortexWave #HolyFawn #PostRock #Shoegaze #2020s

https://www.europesays.com/nl/93727/ Dubbel zo zwaar: Deafheaven – Lonely People With Power #2025 #agriculture #alcest #Amusement #asunojokei #BlackMetal #blackgaze #BosseDeNage #Deafheaven #Dutch #Entertainment #GhostBath #HolyFawn #lantlôs #LonelyPeopleWithPower #metal #mol #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #numenorean #oathbreaker #PostBlack #recensie #RoadrunnerRecords #shoegaze #WhiteWard #WolvesInTheThroneRoom #ZwareMetalen

J'ai sorti un EP avec mon projet de #shoegaze la semaine dernière ! Si des groupes comme #deafheaven ou encore #holyfawn vous parle, allez y jeter un oreille !

https://youtu.be/sxiYM8u52aM?feature=shared

J'ai sorti un EP avec mon projet de #shoegaze la semaine dernière ! Si des groupes comme #deafheaven ou encore #holyfawn vous parle, allez y jeter un oreille !

https://youtu.be/sxiYM8u52aM?feature=shared

J'ai sorti un EP avec mon projet de #shoegaze la semaine dernière ! Si des groupes comme #deafheaven ou encore #holyfawn vous parle, allez y jeter un oreille !

https://youtu.be/sxiYM8u52aM?feature=shared

It's that time of the year again when I grab my gear, go out to a forest, set up a hammock, and just gaze up at the stars. This album is the perfect soundtrack for it.

#TidesFromNebula: Instant Rewards

https://album.link/i/1766087220

#Instrumental #PostRock

FFO #CollapseUnderTheEmpire #GlasgowComaScale #HolyFawn

It's that time of the year again when I grab my gear, go out to a forest, set up a hammock, and just gaze up at the stars. This album is the perfect soundtrack for it.

#TidesFromNebula: Instant Rewards

https://album.link/i/1766087220

#Instrumental #PostRock

FFO #CollapseUnderTheEmpire #GlasgowComaScale #HolyFawn

It's that time of the year again when I grab my gear, go out to a forest, set up a hammock, and just gaze up at the stars. This album is the perfect soundtrack for it.

#TidesFromNebula: Instant Rewards

https://album.link/i/1766087220

#Instrumental #PostRock

FFO #CollapseUnderTheEmpire #GlasgowComaScale #HolyFawn

It's that time of the year again when I grab my gear, go out to a forest, set up a hammock, and just gaze up at the stars. This album is the perfect soundtrack for it.

#TidesFromNebula: Instant Rewards

https://album.link/i/1766087220

#Instrumental #PostRock

FFO #CollapseUnderTheEmpire #GlasgowComaScale #HolyFawn

Sweeping off the attic, dumping everything I found in the last seven days - for @DXMacGuffin's #ProgTuesday:

#Blackshape: ITIIITIATIIHYLIHYL - Live at the Salt Lake City Masonic Temple

https://www.youtube.com/watch?v=v_1g-nFVsW4

https://redirect.invidious.io/watch?v=v_1g-nFVsW4

#MathRock #PostMetal #PostRock #ProgressiveRock

FFO #BearTheMammoth #CarvedIntoTheSun #HolyFawn

"If this is it
If this is all there is
I hope you live
I hope you live"

Sweeping off the attic, dumping everything I found in the last seven days - for @DXMacGuffin's #ProgTuesday:

#Blackshape: ITIIITIATIIHYLIHYL - Live at the Salt Lake City Masonic Temple

https://www.youtube.com/watch?v=v_1g-nFVsW4

https://redirect.invidious.io/watch?v=v_1g-nFVsW4

#MathRock #PostMetal #PostRock #ProgressiveRock

FFO #BearTheMammoth #CarvedIntoTheSun #HolyFawn

"If this is it
If this is all there is
I hope you live
I hope you live"

Sweeping off the attic, dumping everything I found in the last seven days - for @DXMacGuffin's #ProgTuesday:

#Blackshape: ITIIITIATIIHYLIHYL - Live at the Salt Lake City Masonic Temple

https://www.youtube.com/watch?v=v_1g-nFVsW4

https://redirect.invidious.io/watch?v=v_1g-nFVsW4

#MathRock #PostMetal #PostRock #ProgressiveRock

FFO #BearTheMammoth #CarvedIntoTheSun #HolyFawn

"If this is it
If this is all there is
I hope you live
I hope you live"

Sweeping off the attic, dumping everything I found in the last seven days - for @DXMacGuffin's #ProgTuesday:

#Blackshape: ITIIITIATIIHYLIHYL - Live at the Salt Lake City Masonic Temple

https://www.youtube.com/watch?v=v_1g-nFVsW4

https://redirect.invidious.io/watch?v=v_1g-nFVsW4

#MathRock #PostMetal #PostRock #ProgressiveRock

FFO #BearTheMammoth #CarvedIntoTheSun #HolyFawn

"If this is it
If this is all there is
I hope you live
I hope you live"

Sweeping off the attic, dumping everything I found in the last seven days - for @DXMacGuffin's #ProgTuesday:

#Blackshape: ITIIITIATIIHYLIHYL - Live at the Salt Lake City Masonic Temple

https://www.youtube.com/watch?v=v_1g-nFVsW4

https://redirect.invidious.io/watch?v=v_1g-nFVsW4

#MathRock #PostMetal #PostRock #ProgressiveRock

FFO #BearTheMammoth #CarvedIntoTheSun #HolyFawn

"If this is it
If this is all there is
I hope you live
I hope you live"

One of my favourite album openings ever. #HolyFawn https://song.link/ca/i/1455576352

One of my favourite album openings ever. #HolyFawn https://song.link/ca/i/1455576352

One of my favourite album openings ever. #HolyFawn https://song.link/ca/i/1455576352

One of my favourite album openings ever. #HolyFawn https://song.link/ca/i/1455576352

One of my favourite album openings ever. #HolyFawn https://song.link/ca/i/1455576352

Duh, I did not pay attention to what has been shared already by others, so here's my second submission, this time from the vaults, for this week's #MusicWomenWednesday by @loewe:

Brutus: What Have We Done

https://song.link/fgj7csczp87wf

FFO #HelmsAlee #HolyFawn #RussianCircles

Duh, I did not pay attention to what has been shared already by others, so here's my second submission, this time from the vaults, for this week's #MusicWomenWednesday by @loewe:

Brutus: What Have We Done

https://song.link/fgj7csczp87wf

FFO #HelmsAlee #HolyFawn #RussianCircles

Duh, I did not pay attention to what has been shared already by others, so here's my second submission, this time from the vaults, for this week's #MusicWomenWednesday by @loewe:

Brutus: What Have We Done

https://song.link/fgj7csczp87wf

FFO #HelmsAlee #HolyFawn #RussianCircles

Duh, I did not pay attention to what has been shared already by others, so here's my second submission, this time from the vaults, for this week's #MusicWomenWednesday by @loewe:

Brutus: What Have We Done

https://song.link/fgj7csczp87wf

FFO #HelmsAlee #HolyFawn #RussianCircles

Glassing – From the Other Side of the Mirror Review

By Dear Hollow

No one does music quite like Austin’s Glassing. Nearly impossible to pigeonhole in its blend of jagged riffs and crystalline melodies, critics have conjured the likes of post-metal, post-black, post-rock, mathcore, shoegaze, sludge, noise rock, screamo, and post-hardcore to describe it – none ever quite sticking the landing. Comparisons to Amenra, Deafheaven, Holy Fawn, and Infant Island are rife – fair but incomplete. Ascending to the ether with a style formed on 2017’s Light and Death, honed in 2019’s Spotted Horse, and perfected with 2021’s Twin Dream, Glassing seems to level up with each release, its tonal calculations more fluid and organic while its gritted-teeth punishment never foregone. From the Other Side of the Mirror is another chapter and success for an act renowned for excellence.

The style that Glassing proffers is best exemplified in the dichotomy of two tracks separated by brief interlude, “Defacer” and “Nominal Will.” The former is absolutely vicious with thick, chunky blackened sludge riffs raining down with volcanic ferocity; the latter deals in a consistently sanguine and heart-wrenching melodic lead guitar approach that floats above the bass-heavy chugs, giving purpose to the pain. This dichotomy, perhaps embodying two sides of the mirror, courses through the album’s forty-two minutes with a tantalizing simplicity of devastating riffs and heart-wrenching melody. It may not top Twin Dream in its ambition but its more contemplative tones and devastatingly thick riffs collide for an absolute tour-de-force nonetheless.

Glassing’s sound nonetheless feels more streamlined despite this dichotomy. Compared to Twin Dream, where multiple styles, vocals, and movements collided, From the Other Side of the Mirror feels refreshingly straightforward. Tracks like “Anything You Want,” “Nominal Will,” and “Ritualist” fuse undercurrents of pulsing blackened sludge with soaring guitar leads and choral cleans, moving between segments with seamless ease. Elsewhere, the two ends of the spectrum are showcased neatly, as the gentle melodies of “Nothing Touches You” and interlude “The Kestrel Goes” are starkly vulnerable compared to the heaviness. On the other end, tracks “As My Heart Rots” and “Circle Down” take notes from “Defacer” in blistering heaviness, relying on blackened tremolo, sludge weight, and a dissonant mathcore quality laid atop a post-metal blueprint, absolutely leveling with the hugeness of their riffs. Dustin Coffman’s vocals return to the simplicity of the blackened snarl, adding a needed edge. You can’t accuse Glassing of going soft.

While ambition is in the eye of the beholder, there are some simple setbacks to From the Other Side of the Mirror. Glassing’s strongest asset is its ability to build tension between jaggedness and melody, and while “Ritualist” and “Defacer” bend hard into this tension, other tracks simply fall into one or another. “Nothing Touches You” pales in comparison to “Anything You Want,” and the stark palettes between “Defacer” and “Nominal Will” can be jarring. Likewise between “Circle Down” and “Wake” – in spite of an interlude between them. While interludes “Sallow” and “The Kestrel Goes” attempt to smoothen transitions between these soundscapes, they largely come across as unnecessary. Worse, closer “Wake” does not feel as climactic as it ought to be, feeling more like a weaker “Anything You Want” with no distinct resolution.

In reality, Glassing’s biggest issue is its sequencing, in that each track is accomplished with gusto and bulletproof performances across the board, but placement within the album feels a bit off. Twin Dream relegated these soundscapes to the first half or the second through a hardcore filter, but From the Other Side of the Mirror attempts the herculean feat of streamlining them with more contemplative grace, adding greater weight to the no-holds-barred punishment of “Defacer,” “As My Heart Rots,” and “Circle Down.” I wouldn’t consider From the Other Side of the Mirror a step-down, but a different beast entirely – from one of the most exciting metal bands today.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: glassing.bandcamp.com | glassingband.com | facebook.com/glassingband
Releases Worldwide: April 26th, 2024

#2024 #35 #Amenra #AmericanMetal #Apr24 #BlackMetal #BlackenedSludgeMetal #Deafheaven #FromTheOtherSideOfTheMirror #Glassing #HolyFawn #InfantIsland #Mathcore #NoiseRock #PelagicRecords #PostRock #PostBlackMetal #PostHardcore #PostMetal #Review #Reviews #Screamo #Shoegaze #SludgeMetal

Glassing – From the Other Side of the Mirror Review

By Dear Hollow

No one does music quite like Austin’s Glassing. Nearly impossible to pigeonhole in its blend of jagged riffs and crystalline melodies, critics have conjured the likes of post-metal, post-black, post-rock, mathcore, shoegaze, sludge, noise rock, screamo, and post-hardcore to describe it – none ever quite sticking the landing. Comparisons to Amenra, Deafheaven, Holy Fawn, and Infant Island are rife – fair but incomplete. Ascending to the ether with a style formed on 2017’s Light and Death, honed in 2019’s Spotted Horse, and perfected with 2021’s Twin Dream, Glassing seems to level up with each release, its tonal calculations more fluid and organic while its gritted-teeth punishment never foregone. From the Other Side of the Mirror is another chapter and success for an act renowned for excellence.

The style that Glassing proffers is best exemplified in the dichotomy of two tracks separated by brief interlude, “Defacer” and “Nominal Will.” The former is absolutely vicious with thick, chunky blackened sludge riffs raining down with volcanic ferocity; the latter deals in a consistently sanguine and heart-wrenching melodic lead guitar approach that floats above the bass-heavy chugs, giving purpose to the pain. This dichotomy, perhaps embodying two sides of the mirror, courses through the album’s forty-two minutes with a tantalizing simplicity of devastating riffs and heart-wrenching melody. It may not top Twin Dream in its ambition but its more contemplative tones and devastatingly thick riffs collide for an absolute tour-de-force nonetheless.

Glassing’s sound nonetheless feels more streamlined despite this dichotomy. Compared to Twin Dream, where multiple styles, vocals, and movements collided, From the Other Side of the Mirror feels refreshingly straightforward. Tracks like “Anything You Want,” “Nominal Will,” and “Ritualist” fuse undercurrents of pulsing blackened sludge with soaring guitar leads and choral cleans, moving between segments with seamless ease. Elsewhere, the two ends of the spectrum are showcased neatly, as the gentle melodies of “Nothing Touches You” and interlude “The Kestrel Goes” are starkly vulnerable compared to the heaviness. On the other end, tracks “As My Heart Rots” and “Circle Down” take notes from “Defacer” in blistering heaviness, relying on blackened tremolo, sludge weight, and a dissonant mathcore quality laid atop a post-metal blueprint, absolutely leveling with the hugeness of their riffs. Dustin Coffman’s vocals return to the simplicity of the blackened snarl, adding a needed edge. You can’t accuse Glassing of going soft.

While ambition is in the eye of the beholder, there are some simple setbacks to From the Other Side of the Mirror. Glassing’s strongest asset is its ability to build tension between jaggedness and melody, and while “Ritualist” and “Defacer” bend hard into this tension, other tracks simply fall into one or another. “Nothing Touches You” pales in comparison to “Anything You Want,” and the stark palettes between “Defacer” and “Nominal Will” can be jarring. Likewise between “Circle Down” and “Wake” – in spite of an interlude between them. While interludes “Sallow” and “The Kestrel Goes” attempt to smoothen transitions between these soundscapes, they largely come across as unnecessary. Worse, closer “Wake” does not feel as climactic as it ought to be, feeling more like a weaker “Anything You Want” with no distinct resolution.

In reality, Glassing’s biggest issue is its sequencing, in that each track is accomplished with gusto and bulletproof performances across the board, but placement within the album feels a bit off. Twin Dream relegated these soundscapes to the first half or the second through a hardcore filter, but From the Other Side of the Mirror attempts the herculean feat of streamlining them with more contemplative grace, adding greater weight to the no-holds-barred punishment of “Defacer,” “As My Heart Rots,” and “Circle Down.” I wouldn’t consider From the Other Side of the Mirror a step-down, but a different beast entirely – from one of the most exciting metal bands today.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: glassing.bandcamp.com | glassingband.com | facebook.com/glassingband
Releases Worldwide: April 26th, 2024

#2024 #35 #Amenra #AmericanMetal #Apr24 #BlackMetal #BlackenedSludgeMetal #Deafheaven #FromTheOtherSideOfTheMirror #Glassing #HolyFawn #InfantIsland #Mathcore #NoiseRock #PelagicRecords #PostRock #PostBlackMetal #PostHardcore #PostMetal #Review #Reviews #Screamo #Shoegaze #SludgeMetal

Glassing – From the Other Side of the Mirror Review

By Dear Hollow

No one does music quite like Austin’s Glassing. Nearly impossible to pigeonhole in its blend of jagged riffs and crystalline melodies, critics have conjured the likes of post-metal, post-black, post-rock, mathcore, shoegaze, sludge, noise rock, screamo, and post-hardcore to describe it – none ever quite sticking the landing. Comparisons to Amenra, Deafheaven, Holy Fawn, and Infant Island are rife – fair but incomplete. Ascending to the ether with a style formed on 2017’s Light and Death, honed in 2019’s Spotted Horse, and perfected with 2021’s Twin Dream, Glassing seems to level up with each release, its tonal calculations more fluid and organic while its gritted-teeth punishment never foregone. From the Other Side of the Mirror is another chapter and success for an act renowned for excellence.

The style that Glassing proffers is best exemplified in the dichotomy of two tracks separated by brief interlude, “Defacer” and “Nominal Will.” The former is absolutely vicious with thick, chunky blackened sludge riffs raining down with volcanic ferocity; the latter deals in a consistently sanguine and heart-wrenching melodic lead guitar approach that floats above the bass-heavy chugs, giving purpose to the pain. This dichotomy, perhaps embodying two sides of the mirror, courses through the album’s forty-two minutes with a tantalizing simplicity of devastating riffs and heart-wrenching melody. It may not top Twin Dream in its ambition but its more contemplative tones and devastatingly thick riffs collide for an absolute tour-de-force nonetheless.

Glassing’s sound nonetheless feels more streamlined despite this dichotomy. Compared to Twin Dream, where multiple styles, vocals, and movements collided, From the Other Side of the Mirror feels refreshingly straightforward. Tracks like “Anything You Want,” “Nominal Will,” and “Ritualist” fuse undercurrents of pulsing blackened sludge with soaring guitar leads and choral cleans, moving between segments with seamless ease. Elsewhere, the two ends of the spectrum are showcased neatly, as the gentle melodies of “Nothing Touches You” and interlude “The Kestrel Goes” are starkly vulnerable compared to the heaviness. On the other end, tracks “As My Heart Rots” and “Circle Down” take notes from “Defacer” in blistering heaviness, relying on blackened tremolo, sludge weight, and a dissonant mathcore quality laid atop a post-metal blueprint, absolutely leveling with the hugeness of their riffs. Dustin Coffman’s vocals return to the simplicity of the blackened snarl, adding a needed edge. You can’t accuse Glassing of going soft.

While ambition is in the eye of the beholder, there are some simple setbacks to From the Other Side of the Mirror. Glassing’s strongest asset is its ability to build tension between jaggedness and melody, and while “Ritualist” and “Defacer” bend hard into this tension, other tracks simply fall into one or another. “Nothing Touches You” pales in comparison to “Anything You Want,” and the stark palettes between “Defacer” and “Nominal Will” can be jarring. Likewise between “Circle Down” and “Wake” – in spite of an interlude between them. While interludes “Sallow” and “The Kestrel Goes” attempt to smoothen transitions between these soundscapes, they largely come across as unnecessary. Worse, closer “Wake” does not feel as climactic as it ought to be, feeling more like a weaker “Anything You Want” with no distinct resolution.

In reality, Glassing’s biggest issue is its sequencing, in that each track is accomplished with gusto and bulletproof performances across the board, but placement within the album feels a bit off. Twin Dream relegated these soundscapes to the first half or the second through a hardcore filter, but From the Other Side of the Mirror attempts the herculean feat of streamlining them with more contemplative grace, adding greater weight to the no-holds-barred punishment of “Defacer,” “As My Heart Rots,” and “Circle Down.” I wouldn’t consider From the Other Side of the Mirror a step-down, but a different beast entirely – from one of the most exciting metal bands today.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: glassing.bandcamp.com | glassingband.com | facebook.com/glassingband
Releases Worldwide: April 26th, 2024

#2024 #35 #Amenra #AmericanMetal #Apr24 #BlackMetal #BlackenedSludgeMetal #Deafheaven #FromTheOtherSideOfTheMirror #Glassing #HolyFawn #InfantIsland #Mathcore #NoiseRock #PelagicRecords #PostRock #PostBlackMetal #PostHardcore #PostMetal #Review #Reviews #Screamo #Shoegaze #SludgeMetal

Holy Fawn plays a smoldering combination of shoegaze ambience, doom metal drone, and post-rock dirge that comes in dark waves.

Find out more about their music at https://thepropagandasite.com/artist/holy-fawn
photo credit: Matt Cardinal

#tPsThrowback #HolyFawn #music #musicdiscovery

Holy Fawn plays a smoldering combination of shoegaze ambience, doom metal drone, and post-rock dirge that comes in dark waves.

Find out more about their music at https://thepropagandasite.com/artist/holy-fawn
photo credit: Matt Cardinal

#tPsThrowback #HolyFawn #music #musicdiscovery

Holy Fawn plays a smoldering combination of shoegaze ambience, doom metal drone, and post-rock dirge that comes in dark waves.

Find out more about their music at https://thepropagandasite.com/artist/holy-fawn
photo credit: Matt Cardinal

#tPsThrowback #HolyFawn #music #musicdiscovery

Holy Fawn plays a smoldering combination of shoegaze ambience, doom metal drone, and post-rock dirge that comes in dark waves.

Find out more about their music at https://thepropagandasite.com/artist/holy-fawn
photo credit: Matt Cardinal

#tPsThrowback #HolyFawn #music #musicdiscovery

#TheMetalDogArticleList
#MetalInjection
HOLY FAWN Streams Reimagined Version Of "Glóandi"
To reflect their current sound.

https://metalinjection.net/new-music/holy-fawn-streams-reimagined-version-of-gloandi

#HolyFawn #Gloandi #Reimagined #NewMusic #IndieRock #DreamyPostRock

#TheMetalDogArticleList
#MetalInjection
HOLY FAWN Streams Reimagined Version Of "Glóandi"
To reflect their current sound.

https://metalinjection.net/new-music/holy-fawn-streams-reimagined-version-of-gloandi

#HolyFawn #Gloandi #Reimagined #NewMusic #IndieRock #DreamyPostRock

#TheMetalDogArticleList
#MetalInjection
HOLY FAWN Streams Reimagined Version Of "Glóandi"
To reflect their current sound.

https://metalinjection.net/new-music/holy-fawn-streams-reimagined-version-of-gloandi

#HolyFawn #Gloandi #Reimagined #NewMusic #IndieRock #DreamyPostRock

#TheMetalDogArticleList
#MetalInjection
HOLY FAWN Streams Reimagined Version Of "Glóandi"
To reflect their current sound.

https://metalinjection.net/new-music/holy-fawn-streams-reimagined-version-of-gloandi

#HolyFawn #Gloandi #Reimagined #NewMusic #IndieRock #DreamyPostRock

#TheMetalDogArticleList
#MetalInjection
HOLY FAWN Streams Reimagined Version Of "Glóandi"
To reflect their current sound.

https://metalinjection.net/new-music/holy-fawn-streams-reimagined-version-of-gloandi

#HolyFawn #Gloandi #Reimagined #NewMusic #IndieRock #DreamyPostRock

Hey #pdx, #holyfawn is coming to town in Oct. just in case you like yr #shoegaze with a healthy dose of #doommetal https://youtu.be/yb7TEn8079I

Hey #pdx, #holyfawn is coming to town in Oct. just in case you like yr #shoegaze with a healthy dose of #doommetal https://youtu.be/yb7TEn8079I

Hey #pdx, #holyfawn is coming to town in Oct. just in case you like yr #shoegaze with a healthy dose of #doommetal https://youtu.be/yb7TEn8079I

Hey #pdx, #holyfawn is coming to town in Oct. just in case you like yr #shoegaze with a healthy dose of #doommetal https://youtu.be/yb7TEn8079I

Hey #pdx, #holyfawn is coming to town in Oct. just in case you like yr #shoegaze with a healthy dose of #doommetal https://youtu.be/yb7TEn8079I

Picking up the pace a little bit in #February2023 with #GraphicNature on top. Such a good album!

Also cool to see #HolyFawn made it in there, saw them live and they seem like really nice dudes. And the drummer is singing as well! 😱

Besides that more calm stuff cause it helps me focus while #coding. #tidal #ArtSchoolGirlfriend #Tycho #Hammock

Picking up the pace a little bit in #February2023 with #GraphicNature on top. Such a good album!

Also cool to see #HolyFawn made it in there, saw them live and they seem like really nice dudes. And the drummer is singing as well! 😱

Besides that more calm stuff cause it helps me focus while #coding. #tidal #ArtSchoolGirlfriend #Tycho #Hammock

Picking up the pace a little bit in #February2023 with #GraphicNature on top. Such a good album!

Also cool to see #HolyFawn made it in there, saw them live and they seem like really nice dudes. And the drummer is singing as well! 😱

Besides that more calm stuff cause it helps me focus while #coding. #tidal #ArtSchoolGirlfriend #Tycho #Hammock

Picking up the pace a little bit in #February2023 with #GraphicNature on top. Such a good album!

Also cool to see #HolyFawn made it in there, saw them live and they seem like really nice dudes. And the drummer is singing as well! 😱

Besides that more calm stuff cause it helps me focus while #coding. #tidal #ArtSchoolGirlfriend #Tycho #Hammock

Picking up the pace a little bit in #February2023 with #GraphicNature on top. Such a good album!

Also cool to see #HolyFawn made it in there, saw them live and they seem like really nice dudes. And the drummer is singing as well! 😱

Besides that more calm stuff cause it helps me focus while #coding. #tidal #ArtSchoolGirlfriend #Tycho #Hammock

Anyone on here who is a #HolyFawn fan?

They are probably this years big music find for me.

Anyone on here who is a #HolyFawn fan?

They are probably this years big music find for me.

Anyone on here who is a #HolyFawn fan?

They are probably this years big music find for me.

Anyone on here who is a #HolyFawn fan?

They are probably this years big music find for me.

Anyone on here who is a #HolyFawn fan?

They are probably this years big music find for me.

New #HolyFawn album "Dimensional Bleed " to be released on 9.9.2022

pre-order at https://holyfawn.bandcamp.com/album/dimensional-bleed

New #HolyFawn album "Dimensional Bleed " to be released on 9.9.2022

pre-order at https://holyfawn.bandcamp.com/album/dimensional-bleed