#postmetal — Public Fediverse posts

Yesterday I uploaded the new single of Man Of Ash also on my Faircamp!

https://www.lucamancini.com/music/file-001/

And at the same time I finally added myself on @fairplayer 😎

Hope you like it!

#FediMusic #FediArt #Artist #Art #Arts #Artists #OriginalMusic #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Faircamp #Fairplayer #Experimental #Ambient #Doom #DoomMetal #Metal #PostMetal #Sludge #SludgeMetal #Prague #Varna

Yesterday I uploaded the new single of Man Of Ash also on my Faircamp!

https://www.lucamancini.com/music/file-001/

And at the same time I finally added myself on @fairplayer 😎

Hope you like it!

#FediMusic #FediArt #Artist #Art #Arts #Artists #OriginalMusic #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Faircamp #Fairplayer #Experimental #Ambient #Doom #DoomMetal #Metal #PostMetal #Sludge #SludgeMetal #Prague #Varna

TERRAFORMER – Euryale (Kokomo & Terraformer)
#BlackMetal #Germany #Metal #ambient #doom #instrumental #instrumentalrock #mathrock #postrockinstrumental #postmetal #postrock #postrock #progressive #Belgium
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://terraformer.bandcamp.com/album/euryale-kokomo-terraformer

TERRAFORMER – Euryale (Kokomo & Terraformer)
#BlackMetal #Germany #Metal #ambient #doom #instrumental #instrumentalrock #mathrock #postrockinstrumental #postmetal #postrock #postrock #progressive #Belgium
CC BY-NC-ND (#CreativeCommons Attribution Non Commercial No Derivatives) #ccmusic
https://terraformer.bandcamp.com/album/euryale-kokomo-terraformer

Wir suchen Shows - kennt ihr gute Locations/Festivals? 🔥✌️

Danke an obscure vita für das tolle Video vom mill'em all - es war eine große Ehre für uns! ❤️❤️

#live #metal #metalcore #postmetal #grafschaftbentheim

Wir suchen Shows - kennt ihr gute Locations/Festivals? 🔥✌️

Danke an obscure vita für das tolle Video vom mill'em all - es war eine große Ehre für uns! ❤️❤️

#live #metal #metalcore #postmetal #grafschaftbentheim

Man Of Ash released their first single, for which I had the pleasure to record drums!

It's hard for me to define which style it is, but if you're in some kind of metal, you might enjoy!

Hope you like it 🙃

:boost_requested:

https://manofash.bandcamp.com/track/file-001

#FediMusic #FediArt #Artist #Art #Arts #Artists #OriginalMusic #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Experimental #Ambient #Doom #Industrial #Metal #PostMetal #Sludge #SludgeMetal #Varna #Prague

Man Of Ash released their first single, for which I had the pleasure to record drums!

It's hard for me to define which style it is, but if you're in some kind of metal, you might enjoy!

Hope you like it 🙃

:boost_requested:

https://manofash.bandcamp.com/track/file-001

#FediMusic #FediArt #Artist #Art #Arts #Artists #OriginalMusic #Musician #Musicians #Music #MusiciansOfMastodon #MastoArt #Musodon #Experimental #Ambient #Doom #Industrial #Metal #PostMetal #Sludge #SludgeMetal #Varna #Prague

Pressor – Smell That You Like (Relit)
#Metal #classicrock #doom #doommetal #experimental #hardrock #industrial #postmetal #progressive #progressiverock #psychedelic #psychedelicrock #sludge #sludgemetal #stoner #stonerrock #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://pressor.bandcamp.com/album/smell-that-you-like-relit

Pressor – Smell That You Like (Relit)
#Metal #classicrock #doom #doommetal #experimental #hardrock #industrial #postmetal #progressive #progressiverock #psychedelic #psychedelicrock #sludge #sludgemetal #stoner #stonerrock #SaintPetersburg
CC BY (#CreativeCommons Attribution) #ccmusic
https://pressor.bandcamp.com/album/smell-that-you-like-relit

#saturday #4thofJuly #newepisode of What's This Called? #radioshow for #FreeformPortland 6-8 PM Pacific Time.

90.3 FM & 98.3 FM: #TerrestrialRadio in #portland & #streaming #aroundtheworld: http://listen.freeformportland.org:8000/stream

#ExpunkimentalMusic #Drone #noise #PostPunk #postmetal #psychedelic #AvantGarage #strangemusic #undergroundmusic #noiserock #freejazz #freemusic #hiphop #soulmusic #plunderphonics #outsidermusic #garagerock #FreedomRock #freeform

#ARCHIVED (#listen anytime): https://whatsthiscalled.net/2026/07/04/4-july-2026/

#saturday #4thofJuly #newepisode of What's This Called? #radioshow for #FreeformPortland 6-8 PM Pacific Time.

90.3 FM & 98.3 FM: #TerrestrialRadio in #portland & #streaming #aroundtheworld: http://listen.freeformportland.org:8000/stream

#ExpunkimentalMusic #Drone #noise #PostPunk #postmetal #psychedelic #AvantGarage #strangemusic #undergroundmusic #noiserock #freejazz #freemusic #hiphop #soulmusic #plunderphonics #outsidermusic #garagerock #FreedomRock #freeform

#ARCHIVED (#listen anytime): https://whatsthiscalled.net/2026/07/04/4-july-2026/

Cult of Luna, live at Hellfest Open Air 2026 – ARTE Concert

https://www.youtube.com/watch?v=vjfyT048SIE

Cult of Luna wird 1998 in Nordschweden gegründet. Die Zyklen von Sonne und Mond gehorchen hier nicht denselben Gesetzen wie andernorts; ähnlich steht es um die Musik der skandinavischen Band, die sich ebenfalls von allen gängigen Codes befreit: Sludge Metal, Post-Metal, Post-Hardcore, Progressive Metal …? Cult of Luna lässt sich in keine musikalische Schublade einordnen.

Sicher ist allerdings, dass die Songs von Cult of Luna eine Gefühlsachterbahn auslösen, die von lähmender Beklemmung bis hin zu ekstatischer Euphorie reicht. Diese fast transzendentale Erfahrung etabliert Cult of Luna als Referenzgruppe des Genres. Zu ihren Studioalben, die wahre Maßstäbe setzen, zählen Salvation (2004), Somewhere Along the Highway (2006), A Dawn to Fear (2019) und The Long Road North (2022).

Aber wie so oft bei Metalbands ist auch bei Cult of Luna eine Live-Show die beste Art, ihre Produktionen zu erleben und sich von einem unvergesslichen Sound-Tsunami mitreißen zu lassen. Die Valley Stage des Hellfest bietet dafür den passenden Rahmen.

Aufzeichnung vom 20. Juni 2026 beim Hellfest Open Air Festival in Clisson.

DANNAH PROJECT (Brasil) presenta nou àlbum: "A Tempestade" #DannahProject #HeavyMetal #PostMetal #Juliol2026 #Brasil #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

After 18 years and five full-length albums as frontman to The Lion’s Daughter, Rick Giordano decided “the daughter had to die so that the mother could live.” If that sounds morbid, it’s on purpose, as Giordano’s new project, Blood Mother,1 offers itself as a “score to your own personal horror film.” In forming this new project, Giordano further forges his musical independence, having previously divorced his music from the confines of a label (Season of Mist) for 2023’s Bath House. This allows him to create music that doesn’t fit neatly into any one category, and it makes sense that Blood Mother play an unconventional genre: post-metal. The question looms on Blood Mother’s self-titled debut whether Giordano is able to achieve success on his own terms.

Blood Mother hits plenty of experimental beats, blending atmospheric elements with bouts of impressive riffs. An early guitar riff on “Bonecanter” scratches the Kyuss itch, and his simple yet catchy approach to riffcraft shows up time and again throughout the record. Blood Mother keeps the songwriting simple, but it’s far from boring. Some of the riff-heavy portions sound reminiscent of The Lion’s Daughter, but Blood Mother is less heavy and less industrial. Giordano plays with guitar tones, mixing up sleek riffs, acoustic arpeggios (“Trail of Screaming Dead”), and plenty of heavy reverb à la Cult of Luna (“The Night Fires,” “The Wound of Heaven”). It’s not all about riffs, however. Blood Mother incorporate plenty of atmospheric techniques, including synths, to set up eerie, sometimes sinister moods—”The Night Fires” perfectly encapsulates this approach, beginning with unsettling synths before easing into an energetic pace. Natural sounds also make their way into the music, with crickets chirping at the start and end of “The Night Fires,” and birds and monkeys calling out on “The Wound of Heaven.” These flourishes add subtle touches to the sense of unease bubbling beneath the surface.

Giordano proves an adept songwriter, composing music that patiently builds up to a climax and tells a story. Blood Mother masterfully set the mood, be that the eeriness of “The Night Fires” or the Western, Wayfarer-esque feel of “Lost in Thunder.” But he also realizes mood isn’t enough, and that’s where the riff comes in, not to mention some impressive drumming from Ramsier. On the masterful “Trail of Screaming Dead,” Blood Mother methodically builds upon itself, beginning with organs, then jumping into lively drums and riffs, slowly adding new elements until some memorable tremolos bring the song to a conclusion. The music feels like gritty poetry, and the lyrics reflect this, written in poetic form and performed artistically in Giordano’s husky growls.

At just over 30 minutes, Blood Mother is a morsel rather than a full feast, and its conclusion leaves it somewhat wanting. Of the six songs that comprise that runtime, five of them are terrific pieces that eschew traditional structures, filling up spaces with music that can be thoughtful, deliberate, and sometimes exciting. On occasion, Blood Mother make some odd choices, such as synths in the final minute of “The Night Fires” that are deliberately jarring as they switch from one speaker to the other. Yet it’s the record’s finale, “Pulled Apart,” that doesn’t quite hold a light to the tracks that precede it. It still contains great ideas, including some nifty riffs and kitwork, but also some noises that just don’t blend into the music very well. It’s the one tune that doesn’t quite hit as hard as the others, and the concluding fade-out ends Blood Mother on an anticlimactic disappearing act.

For me, this was the perfect promo to match my mood. I wanted something that entertained without being formulaic. I wanted something that didn’t hit the usual beats, but wasn’t too weird. Blood Mother checks all those boxes. Sure, Giordano may have a few kinks to work out, but for a first-time striking it out (mostly) on his own, this is a pretty remarkable record, one that’s full of surprises and nuances that make for rewarding repeat listens.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

After 18 years and five full-length albums as frontman to The Lion’s Daughter, Rick Giordano decided “the daughter had to die so that the mother could live.” If that sounds morbid, it’s on purpose, as Giordano’s new project, Blood Mother,1 offers itself as a “score to your own personal horror film.” In forming this new project, Giordano further forges his musical independence, having previously divorced his music from the confines of a label (Season of Mist) for 2023’s Bath House. This allows him to create music that doesn’t fit neatly into any one category, and it makes sense that Blood Mother play an unconventional genre: post-metal. The question looms on Blood Mother’s self-titled debut whether Giordano is able to achieve success on his own terms.

Blood Mother hits plenty of experimental beats, blending atmospheric elements with bouts of impressive riffs. An early guitar riff on “Bonecanter” scratches the Kyuss itch, and his simple yet catchy approach to riffcraft shows up time and again throughout the record. Blood Mother keeps the songwriting simple, but it’s far from boring. Some of the riff-heavy portions sound reminiscent of The Lion’s Daughter, but Blood Mother is less heavy and less industrial. Giordano plays with guitar tones, mixing up sleek riffs, acoustic arpeggios (“Trail of Screaming Dead”), and plenty of heavy reverb à la Cult of Luna (“The Night Fires,” “The Wound of Heaven”). It’s not all about riffs, however. Blood Mother incorporate plenty of atmospheric techniques, including synths, to set up eerie, sometimes sinister moods—”The Night Fires” perfectly encapsulates this approach, beginning with unsettling synths before easing into an energetic pace. Natural sounds also make their way into the music, with crickets chirping at the start and end of “The Night Fires,” and birds and monkeys calling out on “The Wound of Heaven.” These flourishes add subtle touches to the sense of unease bubbling beneath the surface.

Giordano proves an adept songwriter, composing music that patiently builds up to a climax and tells a story. Blood Mother masterfully set the mood, be that the eeriness of “The Night Fires” or the Western, Wayfarer-esque feel of “Lost in Thunder.” But he also realizes mood isn’t enough, and that’s where the riff comes in, not to mention some impressive drumming from Ramsier. On the masterful “Trail of Screaming Dead,” Blood Mother methodically builds upon itself, beginning with organs, then jumping into lively drums and riffs, slowly adding new elements until some memorable tremolos bring the song to a conclusion. The music feels like gritty poetry, and the lyrics reflect this, written in poetic form and performed artistically in Giordano’s husky growls.

At just over 30 minutes, Blood Mother is a morsel rather than a full feast, and its conclusion leaves it somewhat wanting. Of the six songs that comprise that runtime, five of them are terrific pieces that eschew traditional structures, filling up spaces with music that can be thoughtful, deliberate, and sometimes exciting. On occasion, Blood Mother make some odd choices, such as synths in the final minute of “The Night Fires” that are deliberately jarring as they switch from one speaker to the other. Yet it’s the record’s finale, “Pulled Apart,” that doesn’t quite hold a light to the tracks that precede it. It still contains great ideas, including some nifty riffs and kitwork, but also some noises that just don’t blend into the music very well. It’s the one tune that doesn’t quite hit as hard as the others, and the concluding fade-out ends Blood Mother on an anticlimactic disappearing act.

For me, this was the perfect promo to match my mood. I wanted something that entertained without being formulaic. I wanted something that didn’t hit the usual beats, but wasn’t too weird. Blood Mother checks all those boxes. Sure, Giordano may have a few kinks to work out, but for a first-time striking it out (mostly) on his own, this is a pretty remarkable record, one that’s full of surprises and nuances that make for rewarding repeat listens.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: June 19th, 2026

Amnemonic was the 3rd aboombong release and the first to focus on guitar. I used a pawn shop off brand electric with open tuning set on a table and played the fretboard with my index fingers for most parts. Not having guitar callouses, some bloody strings resulted in- but it was fun nonetheless. The album cover art was just as much fun to make as the music.

https://aboombong.bandcamp.com/album/amnemonic

#ambient #PostRock #PostMetal #noiseros #experimentalMusic #4thWorldMusic

Amnemonic was the 3rd aboombong release and the first to focus on guitar. I used a pawn shop off brand electric with open tuning set on a table and played the fretboard with my index fingers for most parts. Not having guitar callouses, some bloody strings resulted in- but it was fun nonetheless. The album cover art was just as much fun to make as the music.

https://aboombong.bandcamp.com/album/amnemonic

#ambient #PostRock #PostMetal #noiseros #experimentalMusic #4thWorldMusic

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

Melancholic post-everything liberty, like a seagull flying from the sea to the Alps Listening Session

#NowSpinning

Yes by Vanessa Van Basten

#vinyl
👇
https://subsoundrecords.bandcamp.com/album/yes

🤘

#alternativerock #postmetal #postrock #Italy

( #Bandcamp )

Did y'all know there's a new Russian Circles in August? Whattt

https://russiancircles.bandcamp.com/album/nine

@wendigo @rtw #PostRock #PostMetal #RussianCircles #Chicago #2026Albums #2026Records

Did y'all know there's a new Russian Circles in August? Whattt

https://russiancircles.bandcamp.com/album/nine

@wendigo @rtw #PostRock #PostMetal #RussianCircles #Chicago #2026Albums #2026Records

Russian Circles (post metal / US) sortira son nouvel album 'Nine' le 28 août chez Sargent House. 'Empath', premier extrait, s'écoute ici : https://youtu.be/qrb64_QFetU?si=vB317j5ZI9vq48gw
📸 Chris Strong
#russiancircles #postmetal #newmusic #musicnews #newsingle #nowplaying #nowlistening #nowspinning #musicvideo #nowwatching

The next Russian Circles album has been a long time coming (and still is for a couple of months) but we finally have a taster.

My thorough analysis of the new single is as follows: Hells yeah!

https://russiancircles.bandcamp.com/track/empath

#RussianCircles
#postmetal
#postrock
#music
#musadontti

The next Russian Circles album has been a long time coming (and still is for a couple of months) but we finally have a taster.

My thorough analysis of the new single is as follows: Hells yeah!

https://russiancircles.bandcamp.com/track/empath

#RussianCircles
#postmetal
#postrock
#music
#musadontti

THRAKIAN (Regne Unit) presenta nou àlbum: "The Way" #Thrakian #PostMetal #Juny2026 #RegneUnit #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

Earlier in June, a post-rock album delightfully surprised this middle-aged metalhead. I tend to approach post-anything with caution these days, but And the Dead Tree Gives No Shelter from Sweden’s Oh Hiroshima proved a cohesive, moving experience under scrutiny. Hence, I figured I’d try my luck with another post-rock album on the same label from a band named after a beleaguered city it doesn’t call home. Thus, I approach We’re All Going to Be Fine—on Pelagic Records—by Lost in Kyiv1—from Paris—with cautious enthusiasm. Unlike their labelmates, Lost in Kyiv specialize in a (mostly) instrumental version of post-rock, occasionally adding voices that narrate, soliloquize, live inside sound clips, and even sing. Hopefully, losing myself in this Parisian quartet’s fifth album won’t have me uttering wistful interjections.

Post-rock remains an apt descriptor for Lost in Kyiv, but the band shares heritage with its heavier cousin. As with any (mostly) instrumental post-rockers influenced by Mogwai, electronics play a crucial role in crafting a cinematic experience. On We’re All Going to Be Fine, synths supply melodic hooks (“Burst,” “Euphoria”), set pulsating tones (“Eclipse”), and create mid-song drama (“Mantra”). But when the baritone guitars of Dimitri Denat and Maxime Ingrand lock into a heavy groove with bassist Jean-Christophe Condette and drummer Jérémie Legrand,2 a band like Russian Circles comes to mind. Animals as Leaders also prowl (if they were less technical), on account of Denat and Ingrand’s djent-adjacent tones and playing. For much of its 41-minute runtime, We’re All Going to Be Fine reads like a post-metal album, and a particularly lush, well-produced one at that. While the heavy riffs do lean towards the generic, I can’t deny that they frequently slap.

As a (mostly) instrumental album, We’re All Going to Be Fine mostly slips due to its ‘non-instrumental’ feature: vocals.3 One recurring way Lost in Kyiv adds voices is by threading narrations/soliloquies throughout Fine. Sometimes, these voiceovers work; “Enlightened” segues into the propulsive groove of “Burst” by echoing its title, setting up the song’s rumination on ‘masks’ as a metaphor for social alienation/performativity. But other times, the voiceovers are frustratingly inaudible (“Mantra”), or awkwardly akin to guided meditations (“Euphoria”). As for singing, it makes one and only one appearance. “Becoming” is a perfectly lovely song, powered by the gorgeous melodies and harmonies of Rebecca Need-Menear, but its verse-chorus traditionalism strays far from home on this otherwise impressionistic album. Vocals seem central to the themes Lost in Kyiv claim to explore on We’re All Going to Be Fine: ‘the tension between hope and inner collapse,’ how ‘modern life can disconnect us from ourselves and each other,’ ‘the fragility of mental health and the human psyche.’ As a lecture by Carl Jung closes out the album (“Liminality”), however, I’m left feeling that Fine becomes less coherent when reading its voices closely.

Fortunately, these vocals don’t prohibitively hamper the overall experience. Whether listened to passively or semi-actively, We’re All Going to Be Fine (mostly) progresses as a seamless display of haunting beauty. The first half plays more like post-metal, containing the heaviest riffing on offer. “Eclipse” is a highlight, setting a somber mood that’s popped by an infectious single-string figure and a robust brass section: trumpet, trombone, tuba. From here, Fine mixes things up, exploring multi-layered electronica (“Euphoria”) and hammer-on heroism with d-beat sprinklings (“Liminality”). “Becoming” is always the curveball. Again, it’s not a bad song by any means, but it’s unclear why Lost in Kyiv dropped one singular radio-rock song in the middle of the album. It doesn’t feel like the work of a different band per se, but it definitely feels like a work on a different kind of album.

Oh, Lost in Kyiv, how I wanted to rate your fifth outing just a bit higher. We’re All Going to Be Fine allures with its cinematic soundscapes and hits with its bouncy riffs. Alas, your vocals of various sorts make me think I’m missing the point towards which you drive. But when I play down the voices, letting its luxuriousness wash over me, Fine becomes more than fine—it becomes a (mostly) absorbing arrangement of metallic post-rock.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: Facebook | Instagram
Releases Worldwide: June 19th, 2026

Earlier in June, a post-rock album delightfully surprised this middle-aged metalhead. I tend to approach post-anything with caution these days, but And the Dead Tree Gives No Shelter from Sweden’s Oh Hiroshima proved a cohesive, moving experience under scrutiny. Hence, I figured I’d try my luck with another post-rock album on the same label from a band named after a beleaguered city it doesn’t call home. Thus, I approach We’re All Going to Be Fine—on Pelagic Records—by Lost in Kyiv1—from Paris—with cautious enthusiasm. Unlike their labelmates, Lost in Kyiv specialize in a (mostly) instrumental version of post-rock, occasionally adding voices that narrate, soliloquize, live inside sound clips, and even sing. Hopefully, losing myself in this Parisian quartet’s fifth album won’t have me uttering wistful interjections.

Post-rock remains an apt descriptor for Lost in Kyiv, but the band shares heritage with its heavier cousin. As with any (mostly) instrumental post-rockers influenced by Mogwai, electronics play a crucial role in crafting a cinematic experience. On We’re All Going to Be Fine, synths supply melodic hooks (“Burst,” “Euphoria”), set pulsating tones (“Eclipse”), and create mid-song drama (“Mantra”). But when the baritone guitars of Dimitri Denat and Maxime Ingrand lock into a heavy groove with bassist Jean-Christophe Condette and drummer Jérémie Legrand,2 a band like Russian Circles comes to mind. Animals as Leaders also prowl (if they were less technical), on account of Denat and Ingrand’s djent-adjacent tones and playing. For much of its 41-minute runtime, We’re All Going to Be Fine reads like a post-metal album, and a particularly lush, well-produced one at that. While the heavy riffs do lean towards the generic, I can’t deny that they frequently slap.

As a (mostly) instrumental album, We’re All Going to Be Fine mostly slips due to its ‘non-instrumental’ feature: vocals.3 One recurring way Lost in Kyiv adds voices is by threading narrations/soliloquies throughout Fine. Sometimes, these voiceovers work; “Enlightened” segues into the propulsive groove of “Burst” by echoing its title, setting up the song’s rumination on ‘masks’ as a metaphor for social alienation/performativity. But other times, the voiceovers are frustratingly inaudible (“Mantra”), or awkwardly akin to guided meditations (“Euphoria”). As for singing, it makes one and only one appearance. “Becoming” is a perfectly lovely song, powered by the gorgeous melodies and harmonies of Rebecca Need-Menear, but its verse-chorus traditionalism strays far from home on this otherwise impressionistic album. Vocals seem central to the themes Lost in Kyiv claim to explore on We’re All Going to Be Fine: ‘the tension between hope and inner collapse,’ how ‘modern life can disconnect us from ourselves and each other,’ ‘the fragility of mental health and the human psyche.’ As a lecture by Carl Jung closes out the album (“Liminality”), however, I’m left feeling that Fine becomes less coherent when reading its voices closely.

Fortunately, these vocals don’t prohibitively hamper the overall experience. Whether listened to passively or semi-actively, We’re All Going to Be Fine (mostly) progresses as a seamless display of haunting beauty. The first half plays more like post-metal, containing the heaviest riffing on offer. “Eclipse” is a highlight, setting a somber mood that’s popped by an infectious single-string figure and a robust brass section: trumpet, trombone, tuba. From here, Fine mixes things up, exploring multi-layered electronica (“Euphoria”) and hammer-on heroism with d-beat sprinklings (“Liminality”). “Becoming” is always the curveball. Again, it’s not a bad song by any means, but it’s unclear why Lost in Kyiv dropped one singular radio-rock song in the middle of the album. It doesn’t feel like the work of a different band per se, but it definitely feels like a work on a different kind of album.

Oh, Lost in Kyiv, how I wanted to rate your fifth outing just a bit higher. We’re All Going to Be Fine allures with its cinematic soundscapes and hits with its bouncy riffs. Alas, your vocals of various sorts make me think I’m missing the point towards which you drive. But when I play down the voices, letting its luxuriousness wash over me, Fine becomes more than fine—it becomes a (mostly) absorbing arrangement of metallic post-rock.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records
Websites: Facebook | Instagram
Releases Worldwide: June 19th, 2026

Free download codes:

Halo of Teeth - Meditations On Dying

"'Meditations on Dying' is a 47 minute journey, across 4 epic tracks, through the human experience of death and dying, from depression to acceptance."

https://getmusic.fm/l/Rith8Z

#experimental #blackmetal #avantgarde #antifascistblackmetal #postblackmetal #postmetal #music

Free download codes:

Halo of Teeth - Meditations On Dying

"'Meditations on Dying' is a 47 minute journey, across 4 epic tracks, through the human experience of death and dying, from depression to acceptance."

https://getmusic.fm/l/Rith8Z

#experimental #blackmetal #avantgarde #antifascistblackmetal #postblackmetal #postmetal #music

ANTAR (Xile) presenta nou àlbum: "En Vakuo" #Antar #PostMetal #Juny2026 #Xile #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

MIRES (Estats Units) presenta nou EP: "Everything Unrelenting" #Mires #AtmosphericDoom #Drone #PostMetal #Juny2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

BLOOD MOTHER (Estats Units) presenta nou EP: "Blood Mother" #BloodMother #BlackMetal #PostMetal #Juny2026 #EstatsUnits #NouEp #Metall #Metal #MúsicaMetal #MetalMusic

Here's a freebie. #BandNameIdea

Inclimate Whether

#postMetal #postHardcore #atmosphericBlackMetal #deathRock

HECATE'S BREATH (França) presenta nou àlbum: "The Poison Garden II (Hallucinations)" #HecateSBreath #Sludge #DoomMetal #PostMetal #Juny2026 #França #NouÀlbum #Metall #Metal #MúsicaMetal #MetalMusic

#KristofferRygg #Garm

Parfois, l’imaginaire mental est plus important que la musique elle-même.

#Ulver #Metal #Experimental #PostMetal #BlackMetal #Norwegian #Norway #oslo #Music #Ambient #Electronic #FromMetalToMental #Interview #Music #Socialmedia #tv

https://www.youtube.com/watch?v=3bb6yvlkT9M

https://www.youtube.com/watch?v=oQkdtk--0uY

https://www.youtube.com/watch?v=2Efqpg-FUMw

https://www.youtube.com/watch?v=qhDMDV6kO-4&list=OLAK5uy_kYYCISWD_N83E9txWbqJErJbZ7aU-NfiI&index=1

#KristofferRygg #Garm

Parfois, l’imaginaire mental est plus important que la musique elle-même.

#Ulver #Metal #Experimental #PostMetal #BlackMetal #Norwegian #Norway #oslo #Music #Ambient #Electronic #FromMetalToMental #Interview #Music #Socialmedia #tv

https://www.youtube.com/watch?v=3bb6yvlkT9M

https://www.youtube.com/watch?v=oQkdtk--0uY

https://www.youtube.com/watch?v=2Efqpg-FUMw

https://www.youtube.com/watch?v=qhDMDV6kO-4&list=OLAK5uy_kYYCISWD_N83E9txWbqJErJbZ7aU-NfiI&index=1

When one pictures Rio de Janeiro, Brazil, post-metal is probably not among the imagery that readily springs to mind. But the more I think about it, the more the birthplace of Loneshore makes sense. Just as post-metal is often defined by striking contrasts, so is Rio, a city where mountains and beaches coexist alongside favelas and wealthy communities. This diversity is mirrored in Loneshore’s sophomore record, Nothing Left to Deconstruct, which arrives nearly eight years after their 2018 debut, From Presence to Silence. How have the members of Loneshore matured as musicians during this time?

It turns out that Loneshore wasn’t always primarily a post-metal group. From Presence to Silence blended somber, doomy melodeath similar to Eternal Storm with Opethian melodies. Nothing Left to Deconstruct, however, squarely straddles the line between post-metal and Explosions in the Sky-esque post-rock, while adopting Amenra’s silvery-smooth buildups and releases. Loneshore retains some progressive metal, although this time it’s closer to The Ocean, especially during some of the clean-sung passages in “To Stride the Black Earth.” In fact, Luiz Felipe Netto’s clean and harsh vocal styles both cover a wide array of registers. Nothing Left to Deconstruct is no less lush from an instrumental perspective, making it an enjoyable listen from front to back.

Nothing Left to Deconstruct flows like a river, though don’t expect many whitewater rapids. Intro track “Self Oscillations” is like a gentle tributary, its dreamy vocal harmonies, mild guitar notes, and mesmerizing tom drum percussion rolling fluidly into “Straylight.” Loneshore makes good use of three guitarists and a bassist by overlapping their lines together sumptuously (“Parhelion,” “Of Lost Waters”). The 10-minute centerpiece “Birth of a Mountain” features a laid-back recurring melody that rises and falls like a sea of sand dunes. That said, there are sometimes surges of vehemence in the form of blackened snarls and forceful riffs (“Straylight,” “To Stride the Black Earth,” “Parhelion”). Because Loneshore doesn’t overly favor hooks or heaviness, Nothing Left to Deconstruct is a bit of a slow burn, requiring a few complete spins to sink in for me.

As relaxing as Nothing Left to Deconstruct is overall, most of its individual songs last longer than their contents can support. The majority hover around the 8-minute mark, and all of these have lengthy outros that don’t add much. “Of Lost Waters” begins with a pristine and serene post-rock tune, which is diminished by the minute-and-a-half meandering conclusion of “Birth of a Mountain” that came before. Likewise, concluding track “With Nothing We Part” is the most languid and least memorable despite a momentary injection of vitality at the halfway point. On the other hand, “To Stride the Black Earth” is the punchiest and has no noticeable fluff. While the total runtime sits at a fairly reasonable 52 minutes, there is a stronger 40 to 45-minute record lurking within.

It’s not uncommon for artists’ priorities to shift during a lengthy absence; in this case, Loneshore is the better for it. The post/prog metal hybrid Nothing Left to Deconstruct passes by like a pleasant ocean breeze in Rio de Janeiro. It took some time for me to fully appreciate it, but I’m glad I did. The main deficiencies holding back Nothing Left to Deconstruct are a lack of decisive conclusions and a bit of bloat. Nevertheless, if Loneshore continues to develop in this manner, I anticipate great things from album number three.

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Willowtip Records
Websites: loneshore.bandcamp.com | facebook.com/Loneshore
Releases Worldwide: June 19th, 2026

Free download codes:

VARIÁT - Unintended Intention

"Austere urban psychedelia, dissonant noise poetry, string rituals & esoteric metal experiments."

https://getmusic.fm/l/BvuOHS

#ambient #experimental #noise #industrial #psychedelic #avantgarde #postmetal #postindustrial #sludge #music

Quite like its illustrious barbecue, North Carolina’s sludge offers a variety of flavors. Raleigh’s own COC serves the slow-smoked standard, Wilmington’s Weedeater plate a vinegary take on the subgenre, and even Asheville’s Bask season their heavy Americana with sludge. To stand out in this vibrant culinary scene, MAKE brand theirs as ‘thematic psychedelic noise-sludge.’ Formed in Raleigh in 2008 by Scott Endres (guitar, vocals) and Spencer Lee (bass, guitar, vocals), MAKE made waves in 2016 when they aligned with Accident Prone Records for their Pilgrimage of Loathing. Joining Endres and Lee for Exegesis at the End of Time, the band’s fourth full-length (and first in a decade), are drummer John Crouch and bassist/vocalist/synthesizer-ist Aaron Smithers.1 MAKE’s self-description suggests a whole-hog approach2 to extreme metal/rock, but branding is not execution—these ingredients must coalesce into a delicious, satisfying tray.

Exegesis at the End of Time amiably shares a table with formative noise-sludge outfits. Not just because their names rhyme, MAKE reminds me most of Rwake, insofar as a panoply of extreme vocal stylings—gutturals, anguished shrieks, shout-singing—dresses longish songs with a Southern flair (“The End of the Night”). The paradigmatic dynamism of Neurosis also makes appearances, with quiet, bass-driven incantations giving way to harsh punctuations of razor-wire riffing (“Forking Paths”). The frequent centrality of the bass also recalls Isis; MAKE similarly thrives when the low end establishes a melodic groove that opens the door to crushing dirges (“The Augur”). Though its production isn’t as thick n’ rich as I would like for a sludge record, Exegesis skillfully balances its ingredients, ensuring that riffs never get lost in the sauce.

Despite its branding, Exegesis at the End of Time doesn’t strike me as particularly ‘psychedelic.’ I think of psychedelic music as requiring acquiescence to agents of transcendence from below, so as to ascend to the noumenon. MAKE does make the effort to put listeners into a meditative headspace. “The End of the Night” opens the album with three minutes of rhythmless synth/guitar shimmering before a simple, bluesy bass line emerges. Mid-album track “Forking Path” and closer “The Augur” make similar moves: ritualistic bass sets a droning tone, an abrasive sludge-hammer responds. It is in moments like these that MAKE falters a bit as a purportedly ‘psychedelic’ act. The heavy responses frequently pulverize, but they don’t uplift to a new plane of existence. “Chimera,” one of the most straightforward songs on Exegesis, stands as something of an exception. Its chaotic ending, layering heavily-effected, high-register guitar noise over a stank-faced head-bobber, does induce a degree of transcendence.

On the ‘thematic’ side of its branding, Exegesis at the End of Time grows in enjoyment with knowledge of its lyrics, even as it feels thematically divided. In their promo materials, MAKE speaks of a singular ‘concept’: ‘[T]he order that rules our world represents a cosmic violence that will destroy us if we don’t conquer it.’3 The distorted, dissonant chords punctuating the chill spaciness of opener “The End of the Night” sonically establish earthly violence impinging upon a serene cosmos. But despite their singular concept, MAKE also outlines multiple literary influences: McCarthy, Pynchon, DeBord. The labyrinth adorning the cover suggests that “Forking Paths,” a song dramatizing the disorienting temporality of the Borgesian labyrinth, connects the album’s overarching concept to its particular literary allusions. As a retelling of “The Garden of Forking Paths,” though, the song removes [SPOILER ALERT] the climactic gunshot [END SPOILER ALERT]. In my deeper dive, the album felt like it forked between paths puzzling over possible futures (“The End of the Night”) and those explicating our destructive present (“Chimera,” “The Spectacle”). Still, the lyrics almost always enhance the tracks—the seemingly-endless tension chord in the middle of “The Augur,” for one, excellently captures Sisyphus futilely pushing the boulder up the hill.

More a conceptual record than a concept record, Exegesis at the End of Time nevertheless comprises a worthy tray. ‘Exegesis’ usually connotes long-windedness, but MAKE’s fourth album is relatively concise at 41 minutes, leaving me full but not overstuffed. It may imply a scope it doesn’t realize, but Exegesis delivers a well-sequenced smattering of thinking-man’s sludge brimming with potential. It’s not a spot to necessarily frequent, but it’s a spot that satisfies all the same.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Accident Prone Records
Websites: Instagram
Releases Worldwide: June 12th, 2026

One of the paradoxes of living in a large city is the tendency of its inhabitants to feel isolated despite being surrounded by millions of people. Something of a “water, water, everywhere but not a drop to drink” phenomenon. It seems—at least to me—that this theme frequently surfaces within the post-black metal subgenre. Callous Faulter was founded by J. Angus in Melbourne, Australia, in order to give sonic form to urban loneliness. Their mission statement is succinct and straightforward: “Modern life is hell and Callous Faulter provide the soundtrack.” And considering that this is a debut record, Callous Faulter is quite a potent soundtrack indeed.

If the weather where you live has become uncomfortably hot and sunny, Callous Faulter is more than willing to conjure dour moods and dismal days. This flavor of downcast post-black bears a passing resemblance to that of White Ward, but whereas White Ward tempers their bleak outlook with pensive, jazzy sections, Callous Faulter presents an unflinching and unrelenting emotional assault.1 Another way to contextualize Callous Faulter would be to hollow out Cave Sermon’s2 melodic textures and fill them in with Aversio Humanitatis’s dissonance and Altar of Plagues’s sinister, oppressive atmosphere. The structure of Callous Faulter comprises only two tracks (“The Isolationist” and “Ocean Views”), which are between 16 and 18 minutes each for a total runtime of 35 minutes.

Callous Faulter employs an extraordinary array of tools to kindle unease in the listener. Sometimes torpid, discordant guitar notes meld with slow, syncopated drum rhythms. Other times the guitars buzz and drone like an angry swarm of wasps, or clanging chords twist together with tremolos to form a grotesque melodic bouquet. All the while, blast beats intermittently pound away like a jackhammer to the nervous system. Speaking of drums, R. Stone’s performance is incredible. The contrast between the intensely complex rhythms and the minimal post-metal guitars and howled vocals does much to keep the compositions from fading into background noise. It’s particularly powerful when the drumming steadily ramps up in intensity towards the end of “The Isolationist” amidst a few stray screams like the last gasps of a drowning person before the song cuts off with a decisive snare hit.

However, Callous Faulter doesn’t always make the most of its lean runtime, particularly during the second track. “Ocean Views” begins promisingly with an energetic intro reminiscent of Dawn of Ouroboros, but towards the midpoint, it slips into a languid and repetitive loop that lasts far too long. In contrast, Callous Faulter utilizes repetition better in “The Isolationist” by breaking the ruminative reprieve before tedium can set in. Things do eventually liven up again in the final few minutes of “Ocean Views,” but not in a way that makes the listless stretch make sense in retrospect. Even so, this could be an instance of a record that might have been stronger if longer, since having so few minutes means that each one matters that much more to make an impression.

As bleak as Callous Faulter is, I can’t deny that it holds a kind of enigmatic allure, its desolate setting calling me back again and again. The first track “The Isolationist,” is a great proof of concept, while “Ocean Views” doesn’t quite hit the mark. As a whole, it doesn’t feel like Callous Faulter has enough time to thoroughly articulate what it wants to say, though there are certainly worse criticisms than wishing for more of it. There is plenty of potential here, and I will be keenly interested to hear Callous Faulter further expound upon this established style in the future. In the meantime, know that if you ever feel bereft of companionship where you live, you can at least count on this collective of misfits within the online community at Angry Metal Guy for support.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Gutter Prince Cabal
Websites: callousfaulter.bandcamp.com | facebook.com/people/Callous-Faulter
Releases Worldwide: June 1st, 2026

#PostMetal supergroup:

#Harboured: We're Only The Love That We Lead

https://harbouredmusic.bandcamp.com/album/were-only-the-love-that-we-lead

#AmbientBlackMetal #Blackgaze #TechDeath

FFO #Defacement #Epeclase #SpectralLore