#russiancircles — Public Fediverse posts

¡Qué Russian Circles han sacado nuevo disco! #Music #RussianCircles https://www.youtube.com/watch?v=mlqjZnVxew8

¡Qué Russian Circles han sacado nuevo disco! #Music #RussianCircles https://www.youtube.com/watch?v=mlqjZnVxew8

¿Qué Russian Circles han sacado nuevo disco! #Music #RussianCircles https://www.youtube.com/watch?v=mlqjZnVxew8

¿Qué Russian Circles han sacado nuevo disco! #Music #RussianCircles https://www.youtube.com/watch?v=mlqjZnVxew8

¿Qué Russian Circles han sacado nuevo disco! #Music #RussianCircles https://www.youtube.com/watch?v=mlqjZnVxew8

Russian Circles (post metal / US) clippe 'Eluvial', deuxième extrait du prochain album 'Nine' à sortir le 28 août chez Sargent House : https://youtu.be/mlqjZnVxew8?si=Y7zmkoKb1L8VvXiz
#russiancircles #newmusic #musicnews #newsingle #nowplaying #nowlistening #nowspinning #musicvideo #nowwatching

Russian Circles (post metal / US) clippe 'Eluvial', deuxième extrait du prochain album 'Nine' à sortir le 28 août chez Sargent House : https://youtu.be/mlqjZnVxew8?si=Y7zmkoKb1L8VvXiz
#russiancircles #newmusic #musicnews #newsingle #nowplaying #nowlistening #nowspinning #musicvideo #nowwatching

Russian Circles (post metal / US) clippe 'Eluvial', deuxième extrait du prochain album 'Nine' à sortir le 28 août chez Sargent House : https://youtu.be/mlqjZnVxew8?si=Y7zmkoKb1L8VvXiz
#russiancircles #newmusic #musicnews #newsingle #nowplaying #nowlistening #nowspinning #musicvideo #nowwatching

Russian Circles (post metal / US) clippe 'Eluvial', deuxième extrait du prochain album 'Nine' à sortir le 28 août chez Sargent House : https://youtu.be/mlqjZnVxew8?si=Y7zmkoKb1L8VvXiz
#russiancircles #newmusic #musicnews #newsingle #nowplaying #nowlistening #nowspinning #musicvideo #nowwatching

Russian Circles - Gnosis - 2022
#Music #AlbumSuggestions #NowPlaying #NowListening
#RussianCircles #Gnosis

If These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?

By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.

If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.

The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.

Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026

If These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?

By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.

If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.

The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.

Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026

If These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?

By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.

If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.

The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.

Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026

If These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?

By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.

If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.

The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.

Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026

If These Trees Could Talk strikes me as a mildly ironic name for an instrumental group. But, then again, post-rock has the potential to be one of the most expressive musical genres when done correctly. This grove in Akron, Ohio, has been mostly silent for the last ten years since 2016’s The Bones of a Dying World, aside from a lone single in 2024. This probably explains why, despite their popularity, I was unfamiliar with If These Trees Could Talk until now, as I only developed a fondness for post-rock a few years ago. The Hidden Hand marks their second full-length with Metal Blade Records and fourth overall. How fruitful has the last decade been?

By and large, The Hidden Hand will not shock anyone with an affinity for post-rock of the instrumental persuasion. It is primarily constructed using crystalline notes and reverb-drenched chords, fluctuating between light and dark in a manner akin to pg.lost. Like We Lost the Sea, If These Trees Could Talk summon vivid soundscapes that encompass a wide variety of emotions and moods. Though this isn’t a huge sonic departure from their prior work, there are a few minor twists. The Hidden Hand sporadically borrows smidgens of bulky guitar tone from Russian Circles and Pelican, and there is even an unexpected cover of Aphex Twin’s “Flim” at the tail end of the album.

If These Trees Could Talk endeavors to wring the most from handfuls of simple tunes. This approach works well in some instances. The most notable of these is “Blurry Creatures,” featuring a recurring choral chant around which the multi-guitar lines coil like ivy on a trellis. “Moon Machine” is less successful as it stretches two alternating passages across 8 minutes, feeling fatiguing and formulaic. I enjoy The Hidden Hand more when the focus is on spinning poignant melodies (“Sea of Glass,” “Silence Between Mountains, Pts. 1 and 2”), but this does not happen as much as on former records. Instead, a heavier reliance on reverb at times feels antithetical to the desired atmosphere (“Moon Machine,” “Metanoia,” “Silence Between Mountains, Pt. 2”). Furthermore, the final track “Endlessly Connected” begins with soft, interwoven guitar strands that never get the chance to grow into something substantial.

The Hidden Hand is not composed in a way that appears to have considered the whole. Compared with the fluidity of prior albums, it’s more of a motley collection of tracks. This isn’t a bad thing in and of itself, but less overall synergy means less staying power in this case. “Metanoia” and “Flim” stick out in particular. The former leans into perky prog rock, and the latter, while a faithful cover, would have fit better in a setting such as Stardew Valley. Additionally, the percussion seems to have lost much of the free-flowing flair that helped foster the unity of The Bones of a Dying World. In The Hidden Hand, it mainly consists of standard rock beats dressed with syncopation, resulting in a more generic feeling across the board.

Ultimately, The Hidden Hand is not as convincing a comeback as I would have hoped. For whatever reason, some of the magic has disappeared in the last ten years. Given that this was my first experience with If These Trees Could Talk, I can say with certainty that this is not because of pent-up or unrealistic expectations. Their prior magnificence can still be heard in the likes of “Silence Between Mountains, Pt. 2” and “Blurry Creatures,” but, even so, The Hidden Hand likely won’t change anyone’s mind about whether they like instrumental-only music. While for me, The Hidden Hand isn’t worth the opportunity cost when craving post-rock, I’m grateful to have been introduced to The Bones of a Dying World, and I look forward to spending more time with that one.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: ifthesetreescouldtalk.bandcamp.com | facebook.com/treescouldtalk
Releases Worldwide: July 10th, 2026

🌀 Russian Circles - Gnosis 🌀

Le 8e album du trio instrumental de post-metal, sorti en 2022 chez Sargent House. Un voyage sonore immersif, enregistré avec Kurt Ballou, qui alterne entre riffs massifs et ambiances psychédéliques. Le titre explore la quête de connaissance spirituelle. 🎸

#music #RussianCircles #Gnosis #PostMetal #Instrumental #KurtBallou #SargentHouse #textuumusic

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

🌀 Russian Circles - Gnosis 🌀

Le 8e album du trio instrumental de post-metal, sorti en 2022 chez Sargent House. Un voyage sonore immersif, enregistré avec Kurt Ballou, qui alterne entre riffs massifs et ambiances psychédéliques. Le titre explore la quête de connaissance spirituelle. 🎸

#music #RussianCircles #Gnosis #PostMetal #Instrumental #KurtBallou #SargentHouse #textuumusic

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

🌀 Russian Circles - Gnosis 🌀

Le 8e album du trio instrumental de post-metal, sorti en 2022 chez Sargent House. Un voyage sonore immersif, enregistré avec Kurt Ballou, qui alterne entre riffs massifs et ambiances psychédéliques. Le titre explore la quête de connaissance spirituelle. 🎸

#music #RussianCircles #Gnosis #PostMetal #Instrumental #KurtBallou #SargentHouse #textuumusic

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

🌀 Russian Circles - Gnosis 🌀

Le 8e album du trio instrumental de post-metal, sorti en 2022 chez Sargent House. Un voyage sonore immersif, enregistré avec Kurt Ballou, qui alterne entre riffs massifs et ambiances psychédéliques. Le titre explore la quête de connaissance spirituelle. 🎸

#music #RussianCircles #Gnosis #PostMetal #Instrumental #KurtBallou #SargentHouse #textuumusic

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

🌀 Russian Circles - Gnosis 🌀

Le 8e album du trio instrumental de post-metal, sorti en 2022 chez Sargent House. Un voyage sonore immersif, enregistré avec Kurt Ballou, qui alterne entre riffs massifs et ambiances psychédéliques. Le titre explore la quête de connaissance spirituelle. 🎸

#music #RussianCircles #Gnosis #PostMetal #Instrumental #KurtBallou #SargentHouse #textuumusic

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

Russian Circles anunció nuevo álbum y presenta el primer corte «Empath» | vía #NaciónRock

https://www.nacionrock.com/russian-circles-anuncio-nuevo-album-y-presenta-el-primer-corte-empath/

#adelantos #russiancircles

Fuck yeah, new #RussianCircles! https://www.youtube.com/watch?v=qrb64_QFetU

Fuck yeah, new #RussianCircles! https://www.youtube.com/watch?v=qrb64_QFetU

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

#RussianCircles are back with #Empath! Yes. #music #metal #instrumental #rock russiancircles.bandcamp.com/track/empath

Empath, by Russian Circles

#RussianCircles are back with #Empath! Yes. #music #metal #instrumental #rock russiancircles.bandcamp.com/track/empath

Empath, by Russian Circles

#RussianCircles are back with #Empath! Yes. #music #metal #instrumental #rock russiancircles.bandcamp.com/track/empath

Empath, by Russian Circles

#RussianCircles are back with #Empath! Yes. #music #metal #instrumental #rock russiancircles.bandcamp.com/track/empath

Empath, by Russian Circles

#RussianCircles are back with #Empath! Yes. #music #metal #instrumental #rock russiancircles.bandcamp.com/track/empath

Empath, by Russian Circles

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

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

Show 3 footnotes

1. The band used to be stylized as Lost in Kiev but changed the spelling of its titular city this year, for semi-obvious reasons. ↩
2. We’re All Going to Be Fine is Legrand’s first album with Lost in Kyiv. ↩
3. It feels weird implying that a voice is not an instrument, hence the scare quotes. ↩

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

Deficit · Russian Circles Live at Dunk! Fest

https://www.youtube.com/watch?v=KCeyhMcDIo0&list=OLAK5uy_mLu_izV5i9RXpW93kLP_w6qJk3jG0lcJ8

Last weekend's #dunkfestival was wet, cold and muddy, but with a few ray's of hope every now and then. Just how I like my #postrock 👌

I brought my newly acquired analog camera with me, and I'm quite suprised by some of my pictures, I was expecting a lot worse 😅

#concert #photography #analog #analogphotography #RussianCircles #minolta #x700 #kodakcolor

Last weekend's #dunkfestival was wet, cold and muddy, but with a few ray's of hope every now and then. Just how I like my #postrock 👌

I brought my newly acquired analog camera with me, and I'm quite suprised by some of my pictures, I was expecting a lot worse 😅

#concert #photography #analog #analogphotography #RussianCircles #minolta #x700 #kodakcolor

Mentally preparing for #dunkfestival this long weekend. The last few editions were inside @viernulviergent's building, but this year they are going back to the forest of #zottegem. I have fond memories of the epic post-rock concerts on the forest stage 😍

This year's highlights will definitely be #RussianCircles and the TWO sets of #welostthesea, including one session playing the whole Departure Songs album. As always I am looking forward to discovering new gems as well 💎

Mentally preparing for #dunkfestival this long weekend. The last few editions were inside @viernulviergent's building, but this year they are going back to the forest of #zottegem. I have fond memories of the epic post-rock concerts on the forest stage 😍

This year's highlights will definitely be #RussianCircles and the TWO sets of #welostthesea, including one session playing the whole Departure Songs album. As always I am looking forward to discovering new gems as well 💎

Mentally preparing for #dunkfestival this long weekend. The last few editions were inside @viernulviergent's building, but this year they are going back to the forest of #zottegem. I have fond memories of the epic post-rock concerts on the forest stage 😍

This year's highlights will definitely be #RussianCircles and the TWO sets of #welostthesea, including one session playing the whole Departure Songs album. As always I am looking forward to discovering new gems as well 💎

Mentally preparing for #dunkfestival this long weekend. The last few editions were inside @viernulviergent's building, but this year they are going back to the forest of #zottegem. I have fond memories of the epic post-rock concerts on the forest stage 😍

This year's highlights will definitely be #RussianCircles and the TWO sets of #welostthesea, including one session playing the whole Departure Songs album. As always I am looking forward to discovering new gems as well 💎

Mentally preparing for #dunkfestival this long weekend. The last few editions were inside @viernulviergent's building, but this year they are going back to the forest of #zottegem. I have fond memories of the epic post-rock concerts on the forest stage 😍

This year's highlights will definitely be #RussianCircles and the TWO sets of #welostthesea, including one session playing the whole Departure Songs album. As always I am looking forward to discovering new gems as well 💎

#RussianCircles with #Pelican on Europe #Tour 2026 I've already seen #RussianCircles; they were great live. #music #metal

#RussianCircles with #Pelican on Europe #Tour 2026 I've already seen #RussianCircles; they were great live. #music #metal

#FJØRT - ær // mir?! Affection does not necessarily mean conviction, but this performance is a blast! Does anyone else recall #Fleischmann? Somewhere between the gems #BirdsinRow and #RussianCircles, there is still a spot available... #music #metal #hardcore #punk youtu.be/Ki9S6npZeV4

FJØRT - ær // mir (Official li...

#FJØRT - ær // mir?! Affection does not necessarily mean conviction, but this performance is a blast! Does anyone else recall #Fleischmann? Somewhere between the gems #BirdsinRow and #RussianCircles, there is still a spot available... #music #metal #hardcore #punk youtu.be/Ki9S6npZeV4

FJØRT - ær // mir (Official li...