#slowdive — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #slowdive, aggregated by home.social.
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🔴 LIVE NOW ON VORTEX
📻 Vortex Dawn 🌅 (Neoclassical, ambient, soft post-rock)
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🎵 Slowdive - When the Sun Hits▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex Dawn 🌅 (Neoclassical, ambient, soft post-rock)
──────────────
🎵 Slowdive - kisses▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex Dawn 🌅 (Neoclassical, ambient, soft post-rock)
──────────────
🎵 Slowdive - kisses▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex Dawn 🌅 (Neoclassical, ambient, soft post-rock)
──────────────
🎵 Slowdive - Sugar for the Pill▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex Dawn 🌅 (Neoclassical, ambient, soft post-rock)
──────────────
🎵 Slowdive - kisses▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🇺🇦 #NowPlaying on #BBC6Music's #Afrodeutsche
Slowdive:
🎵 Sugar for The Pill (6 Music Session, 6 Apr 2017)https://trif0rcemusic.bandcamp.com/track/slowdive-sugar-for-the-pill-dadgrapes-edit
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Slowdive began in 1988 and took a short 20yr break before coming back with a vengeance in 2015. Their most recent album in 2023’s “Everything is Alive” (https://youtube.com/playlist?list=OLAK5uy_kdjLziB4VitnxJ4ks-Ij-OxdbpJAF_oWU&si=BGQAxisnpPbHKX5C)
#ILikeToWatch #WomensHistoryMonth #Slowdive #RachelGoswell -
Legendary shoegaze band Slowdive features the work of multi-instrumentalist and singer-songwriter Rachel Goswell. “Brighter” (https://youtu.be/Itf3M_Zh7ZU?si=eyLodXVeh3cibxa9) / NO STROBE (https://youtu.be/ecaE0rs1dJ0?si=-LiP1eFgbMbsmaHO) is from 1991’s “Just for a Day” (https://youtube.com/playlist?list=OLAK5uy_n4C9RXhTF7uvEtPH9MyshAy29O8qlNhos&si=hs36N4G2YxD5JfYe).
#ILikeToWatch #WomensHistoryMonth #Slowdive #RachelGoswell -
🇺🇦 #NowPlaying on #KEXP's #VarietyMix
Slowdive:
🎵 Avalyn IIhttps://theblogthatcelebratesitself.bandcamp.com/track/white-cascade-avalyn-ii
https://open.spotify.com/track/2Ue894AYFKuHXCXbosikTS
🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
🇺🇦 #NowPlaying on #KEXP's #VarietyMix
Slowdive:
🎵 kisses (Daniel Avery Remix)https://slowdive.bandcamp.com/track/kisses-electronic-version-3
https://open.spotify.com/track/7LuPjGUfJqxuW14W4gMrU2
🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
Notre premier album venait tout juste de sortir...Un journaliste du Melody Maker … est venu voir Christian, et lui a dit : J’ai écouté ton disque. On va le descendre. L’an prochain, tu viendras au festival en tant que bénévole. Et il s’est barré, comme ça ! On était sur le cul.
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Notre premier album venait tout juste de sortir...Un journaliste du Melody Maker … est venu voir Christian, et lui a dit : J’ai écouté ton disque. On va le descendre. L’an prochain, tu viendras au festival en tant que bénévole. Et il s’est barré, comme ça ! On était sur le cul.
#Slowdive #DreamPop #Shoegaze #UK #Socialmedia #Music
https://www.youtube.com/watch?v=WPApiFhKFsg&list=OLAK5uy_kL4-koXbPqeBxIGNoPO5d60Lb0o5cuUAA&index=6
https://www.youtube.com/watch?v=ecaE0rs1dJ0&list=OLAK5uy_n4C9RXhTF7uvEtPH9MyshAy29O8qlNhos&index=7
https://www.youtube.com/watch?v=kKJYmKl5TuI&list=OLAK5uy_nS1c6P0YB6Zzvm_gf5_-fzjGYPkmFYgGc
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🇺🇦 #NowPlaying on #BBC6Music's #CraigCharles
Slowdive:
🎵 Souvlaki Space Stationhttps://dualityb.bandcamp.com/track/slowdive-souvlaki-space-station-dualityb-remix-preview
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🇺🇦 #NowPlaying on #KEXP's #MorningShow
Slowdive:
🎵 Some Velvet Morning -
https://www.europesays.com/ie/182449/ The story of the most important Irish band of the 21st century – The Irish Times #AlanMcgee #Éire #Entertainment #IE #Ireland #JustMustard #KevinShields #kraftwerk #LiamOMaonlai #MyBloodyValentine #Nirvana #Radiohead #slowdive #SmashingPumpkins #Spotify #TameImpala #TheBeatles #TheRollingStones #U2
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Agriculture – The Spiritual Sound Review
By Owlswald
Black metal is rooted in extremity—a core toolkit of visual aesthetics, speed, power and atmosphere that naturally imbues it with an inherent spiritual essence. But that essence often collapses into a monochromatic buzz of tremolo and constant tempos. Los Angeles-based quartet Agriculture challenges this expectation with their second LP, The Spiritual Sound, moving beyond the solely dark and brutal in search of presence and illumination. Coming off their potent self-titled debut—a record that landed on Cherd’s Top 10(ish) records of 2023—and 2024’s Living is Easy EP, The Spiritual Sound is a statement of pure honesty and fearless experimentation. The record shatters typical black metal conventions, throwing out ritualistic fanfare for a vast array of influences including death metal, noise, math rock, folk, country, and punk. Self-dubbed as “ecstatic black metal,” the foursome demands you check all preconceived notions at the door as they reframe extreme in their own unique and expansive way.
While Agriculture hasn’t completely turned their backs on their blackened roots, The Spiritual Sound uses them as a launchpad to branch out into realms occupied by groups like Liturgy and labelmates Chat Pile. The frenzied, tremolotic dissonance of guitarists Dan Meyer and Richard Chowenhill still power tracks like “Serenity,” “Flea,” and “Micah (5.15am),” underpinning Leah Levinson’s manic vocals and Kern Haug’s unhinged drumming. Now, however, this approach serves as a stepping stone to more expansive horizons, as Agriculture’s originality has fully blossomed. The record’s forty-four minutes are a playful, unpredictable and complex patchwork of styles: math rock chaos (“My Garden”), sludgy down-picked riffs (“The Weight”), soothing Slowdivey shoegaze harmonies (“Flea,” “Dan’s Love Song”), punky gallops (“Micah (5.15am))” and delicate, folky passages (“The Reply,” “Hallelujah”). This diverse blend transmits an authentic ethos centered on camaraderie, collective struggle, and catharsis, grounded in themes from queer history and AIDS-era literature to historical collapse and Zen Buddhism. As unconventional as it might be, The Spiritual Sound’s mission is a clear success: to craft unique, empowering music that fosters community without pretense.
Agriculture’s experimentation largely shines through Meyer and Chowenhill’s impressive and inventive shredding. The duo injects The Spiritual Sound with tons of flashy guitar work through a hodgepodge of bends, squeals, trills, and high-pitched pick taps around more conventional bouts of thrashy riffing and smothering tremolos to create a vibrant spectrum of textures. The captivating leads in tracks like “The Weight,” “My Garden” and “Bodhidharma”—the latter of which contains one of the best solos I’ve heard in a long time—take influence from Tom Morello’s (Rage Against the Machine) boundary-pushing designs or Larry LaLonde’s (Primus) accented jams, while “Flea’s” solo elicits the expressiveness of classic rock. Song o’ the Year candidate “My Garden” explodes into a whirling dervish of frantic math fretwork before dropping into one of the most crushing riffs I’ve heard all year. It then transitions into a soothing interlude for a brief moment before bludgeoning you once more with heaviness and rapid-fire high tremolo runs. This constant shift between doom- and groove-laden weight, jarring dissonance, and soothing ethereal passages is what gives The Spiritual Sound its complex structure and feeds its absorbing, often unpredictable journey.
The Spiritual Sound’s novelty is equally defined by Levinson and Meyer’s vocal performances. Levinson shifts between extreme intensity and introspective subtlety, delivering ear-piercing shrieking rasps balanced by softer, more experimental elements like the poetic, spoken word found in “Bodhidharma” or the conversational tone of “Flea.” The strategic use of soothing clean vocals and Meyer’s beautiful harmonies in songs like “The Reply,” “Hallelujah,” or “Dan’s Love Song” also provides essential emotional contrast, amplifying the impact of the record’s heavier tracks and buttressing Agriculture’s originality. The coarse production—courtesy of Chowenhill—is compressed and somewhat lo-fi but allows the quartet’s unbridled sound to rush through the speakers with both raw aggression and clarity.
Agriculture may have stumbled into black metal during their formation, but the genre—and The Spiritual Sound—is all the better for it. Though their ambitious scope results in some unevenness (“Flea” and “Serenity” rely on tropey structures and interlude “The Spiritual Sound” is confusingly split into its own track), Agriculture is unafraid to walk its own path, successfully blending various styles into a great record authentically rooted in the power, community and pure enjoyment of extreme music. Black metal purists should look elsewhere—however, those who approach The Spiritual Sound without pretense will find a unique, genre-defying experience that only gets better with every play.
Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: The Flenser
Websites: agriculturemusic.bandcamp.com/music | agriculturemusic.com | facebook.com/agriculturemusic
Releases Worldwide: October 3rd, 2025#2025 #40 #Agriculture #AlternativeMetal #AmericanMetal #BlackMetal #ChatPile #ExperimentalMetal #Liturgy #Oct25 #Primus #RageAgainstTheMachine #Review #Reviews #Slowdive #TheFlenser #TheSpiritualSound
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🇺🇦 #NowPlaying on #BBC6Music's #LaurenLaverne
Slowdive:
🎵 Sugar For The Pillhttps://trif0rcemusic.bandcamp.com/track/slowdive-sugar-for-the-pill-dadgrapes-edit
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SLOWDIVE
Slowdive
2017 U.S. pressingOne good dive deserves another.
I guess today will just be a Slowdive-heavy day. Which is more than ok with me.
The first of the Slowdive 2.0 albums.
And even though I like it slightly less than the follow-up, I remember hearing it for the first time and thinking “Oh thank god! It sounds really really great!”I guess I didn’t know what to expect when I read it was coming out, but I needn’t have worried.
Glacial, dreamy, melodic, shoegaze FOREVER AND EVER.
Amen.#vinyl #vinylrecords #vinylcollection #art #music #vinylcommunity #retro #vintage #shoegaze #dreampop #alternative #slowdive
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SLOWDIVE
Everything Is Alive
2023 Worldwide pressingRevisiting one of my favorite albums of 2023.
SLOWDIVE 2.0 has been a very satisfying experience. Since reforming in 2014, the band has put out two very excellent records, of which Everything Is Alive is my favorite.
It’s safe to say they will never quite make a record that will capture people’s attention again in the way Souvlaki did, but the great thing about making a magnificent piece of art like that is that it allows you the grace and good will to KEEP making records. I think people will always be interested in hearing a new SLOWDIVE record.
Particularly when they’re this excellent.#vinyl #vinylrecords #vinylcollection #art #music #vinylcommunity #retro #vintage #shoegaze #slowdive #postrock #cinematic
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🇺🇦 #NowPlaying on #BBC6Music's #LaurenLaverne
Slowdive:
🎵 Sugar For The Pillhttps://trif0rcemusic.bandcamp.com/track/slowdive-sugar-for-the-pill-dadgrapes-edit
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Slowdive(band) - Pygmalion
(Shoegaze, Experimental, Electronic / Sony Music Entertainment)"Mit ihrem dritten Album "Pygmalion", das zwei Jahre nach "Souvlaki" im Jahre 1995 erschien, schlugen Slowdive einen völlig neuen musikalischen Weg ein."
Wie dieser neue musikalische Weg klingt hat @oranje1986 euch in der review beschrieben.
https://vinyl-keks.eu/slowdive-pygmalion/#slowdive #pygmalion #shoegaze #experimental #electronic #sonymusic #fleetunion #neuauflage #vinyl #review
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Slowdive(band) - Souvlaki
(Shoegaze, Dreamwave / Sony Music Entertainment)"Nach ihrem starken Debütalbum "Just For A Day" 1991 veröffentlichten Slowdive 1993 ihr zweites Album "Souvlaki". Es gilt heute als ihr bekanntestes und einflussreichstes Werk – ein Album, das den Sound des Shoegaze-Genres entscheidend mitgeprägt hat und weltweit den Bekanntheitsgrad hochgeschraubt hat."
Review von @oranje1986
https://vinyl-keks.eu/slowdive-souvlaki/#slowdive #souvlaki #shoegaze #sonymusic #fleetunion #vinyl #review
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Slowdive(band) - Souvlaki
(Shoegaze, Dreamwave / Sony Music Entertainment)"Nach ihrem starken Debütalbum "Just For A Day" 1991 veröffentlichten Slowdive 1993 ihr zweites Album "Souvlaki". Es gilt heute als ihr bekanntestes und einflussreichstes Werk – ein Album, das den Sound des Shoegaze-Genres entscheidend mitgeprägt hat und weltweit den Bekanntheitsgrad hochgeschraubt hat."
Review von @oranje1986
https://vinyl-keks.eu/slowdive-souvlaki/#slowdive #souvlaki #shoegaze #sonymusic #fleetunion #vinyl #review
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Slowdive(band) - Souvlaki
(Shoegaze, Dreamwave / Sony Music Entertainment)"Nach ihrem starken Debütalbum "Just For A Day" 1991 veröffentlichten Slowdive 1993 ihr zweites Album "Souvlaki". Es gilt heute als ihr bekanntestes und einflussreichstes Werk – ein Album, das den Sound des Shoegaze-Genres entscheidend mitgeprägt hat und weltweit den Bekanntheitsgrad hochgeschraubt hat."
Review von @oranje1986
https://vinyl-keks.eu/slowdive-souvlaki/#slowdive #souvlaki #shoegaze #sonymusic #fleetunion #vinyl #review
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Slowdive(band) - Souvlaki
(Shoegaze, Dreamwave / Sony Music Entertainment)"Nach ihrem starken Debütalbum "Just For A Day" 1991 veröffentlichten Slowdive 1993 ihr zweites Album "Souvlaki". Es gilt heute als ihr bekanntestes und einflussreichstes Werk – ein Album, das den Sound des Shoegaze-Genres entscheidend mitgeprägt hat und weltweit den Bekanntheitsgrad hochgeschraubt hat."
Review von @oranje1986
https://vinyl-keks.eu/slowdive-souvlaki/#slowdive #souvlaki #shoegaze #sonymusic #fleetunion #vinyl #review
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Slowdive(band) - Souvlaki
(Shoegaze, Dreamwave / Sony Music Entertainment)"Nach ihrem starken Debütalbum "Just For A Day" 1991 veröffentlichten Slowdive 1993 ihr zweites Album "Souvlaki". Es gilt heute als ihr bekanntestes und einflussreichstes Werk – ein Album, das den Sound des Shoegaze-Genres entscheidend mitgeprägt hat und weltweit den Bekanntheitsgrad hochgeschraubt hat."
Review von @oranje1986
https://vinyl-keks.eu/slowdive-souvlaki/#slowdive #souvlaki #shoegaze #sonymusic #fleetunion #vinyl #review
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Don't Know Why 🤷
#Slowdive
https://www.youtube.com/watch?v=qd_kYNbiTcU -
🇺🇦 #NowPlaying on #BBC6Music
Slowdive:
🎵 Celia's Dreamhttps://theblogthatcelebratesitself.bandcamp.com/track/li-f-e-celia-s-dream
https://open.spotify.com/track/58LwagSpbHNBrIr6kyb0cD
Please 🔁 BOOST to share what you like
- your followers don't see if you ⭐ favourite a post -
Souvlaki Space Station 🚀
#Slowdive
https://www.youtube.com/watch?v=oMAJ7RsuYUs -
Sylvanshine – The Offering Review
By Killjoy
The contrast of opposites is fundamentally important in art, and Sylvanshine is an apt name to illustrate this principle. As I just learned from Wikipedia, “Sylvanshine is an optical phenomenon in which dew-covered foliage with wax-coated leaves retroreflect beams of light, as from a vehicle’s headlights. This effect sometimes makes trees appear snow-covered at night during summer.” Fittingly, Ion Ureche’s blackgaze project from Bucharest, Romania, deals with opposing themes, specifically “love and loss, hope and desperation.” Not exactly uncommon themes in blackgaze, but how clearly does Sylvanshine’s debut full-length album portray them?
The Offering oscillates fluidly between the “black” and the “gaze” at a moment’s notice. Crystalline post-black tremolo riffs shimmer and dance to and fro, intertwined with distorted guitar chords and blast beats. The dreamier guitarwork is not unlike that of Alcest’s debut Souvenirs d’un Autre Monde, with plenty of Shelter-era influence also thrown in the mix. What sets Sylvanshine apart from many of its blackgaze peers is the heavy reliance on delicate acoustic guitar plucking and strumming in the vein of early Slowdive. There are three tracks entirely dedicated to this instrument, and it features prominently in the bridges of several others to counterbalance the moody aggression with an intimate touch.
It’s clear that Ureche is a guitarist first and foremost.1 The Offering’s crisp, clear, and poignant lead guitar lines are where the emotional duality alluded to in the promo material shines. The ringing, sorrowful melodies in “Cri de Coeur” and “Rebirth” grow more hopeful as the songs progress, like sunlight breaking through cloudy fissures. If the vocals were similarly expressive, Sylvanshine would be onto something special. They remind me of Sergio Catalán’s deep growls in Winds of Tragedy, but, unfortunately, with more croak than roar. At best, they sound flat (“The Moon and Stars Above,” “Cri de Coeur”) and, at worst, they clash with the guitars (“The Offering”). To his credit, Ureche plays to his strengths by allocating the majority—if not entirety—of each song to instrumental performances.
However, this songwriting decision could have benefited from further refinement in execution. This is particularly true of the tracks that are solely instrumental. It would have been fine to start the album with one acoustic track (“Dirge for a Love”), but the placement of another (“Nothing Will Ever Be the Same”) immediately after the first proper song, “Cri de Coeur,” causes a major pacing stumble. The acoustic guitar bouquet “Reverie” that later follows is gorgeous, but repeats for too long and should have either been fleshed out or trimmed. By the time 5-minute closer “Rebirth” rolls around, instrumental fatigue has set in. Some of the other short songs, “Running from Myself” and “The Offering,” show promise but feel disjointed and underdeveloped. The latter briefly dips into gothic territory midway through, with darker riffs and a haunting organ which sounds slightly out of context here, but the style could fit Sylvanshine very well given more time and attention.
Sylvanshine has all the makings of a young artist in the process of finding his voice, both figuratively and literally. Ion Ureche has a natural talent for composing and performing guitar melodies that mirror the ever-changing spectrum of human emotion. That said, further vocal training—or the addition of a more practiced vocalist—would do wonders for the project. He also has room to grow as a songwriter, and I get the sense that his skill ceiling is high. The Offering is a respectable debut album, but improvement in these main areas will help Sylvanshine to truly stand out amongst the crowd.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: sylvanshine.bandcamp.com | facebook.com/sylvanshineMusic
Releases Worldwide: May 23rd, 2025#25 #2025 #Alcest #BlackMetal #Blackgaze #May25 #PostBlackMetal #Review #Reviews #RomanianMetal #SelfRelease #Shoegaze #Slowdive #Sylvanshine #TheOffering #WindsOfTragedy
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Sylvanshine – The Offering Review
By Killjoy
The contrast of opposites is fundamentally important in art, and Sylvanshine is an apt name to illustrate this principle. As I just learned from Wikipedia, “Sylvanshine is an optical phenomenon in which dew-covered foliage with wax-coated leaves retroreflect beams of light, as from a vehicle’s headlights. This effect sometimes makes trees appear snow-covered at night during summer.” Fittingly, Ion Ureche’s blackgaze project from Bucharest, Romania, deals with opposing themes, specifically “love and loss, hope and desperation.” Not exactly uncommon themes in blackgaze, but how clearly does Sylvanshine’s debut full-length album portray them?
The Offering oscillates fluidly between the “black” and the “gaze” at a moment’s notice. Crystalline post-black tremolo riffs shimmer and dance to and fro, intertwined with distorted guitar chords and blast beats. The dreamier guitarwork is not unlike that of Alcest’s debut Souvenirs d’un Autre Monde, with plenty of Shelter-era influence also thrown in the mix. What sets Sylvanshine apart from many of its blackgaze peers is the heavy reliance on delicate acoustic guitar plucking and strumming in the vein of early Slowdive. There are three tracks entirely dedicated to this instrument, and it features prominently in the bridges of several others to counterbalance the moody aggression with an intimate touch.
It’s clear that Ureche is a guitarist first and foremost.1 The Offering’s crisp, clear, and poignant lead guitar lines are where the emotional duality alluded to in the promo material shines. The ringing, sorrowful melodies in “Cri de Coeur” and “Rebirth” grow more hopeful as the songs progress, like sunlight breaking through cloudy fissures. If the vocals were similarly expressive, Sylvanshine would be onto something special. They remind me of Sergio Catalán’s deep growls in Winds of Tragedy, but, unfortunately, with more croak than roar. At best, they sound flat (“The Moon and Stars Above,” “Cri de Coeur”) and, at worst, they clash with the guitars (“The Offering”). To his credit, Ureche plays to his strengths by allocating the majority—if not entirety—of each song to instrumental performances.
However, this songwriting decision could have benefited from further refinement in execution. This is particularly true of the tracks that are solely instrumental. It would have been fine to start the album with one acoustic track (“Dirge for a Love”), but the placement of another (“Nothing Will Ever Be the Same”) immediately after the first proper song, “Cri de Coeur,” causes a major pacing stumble. The acoustic guitar bouquet “Reverie” that later follows is gorgeous, but repeats for too long and should have either been fleshed out or trimmed. By the time 5-minute closer “Rebirth” rolls around, instrumental fatigue has set in. Some of the other short songs, “Running from Myself” and “The Offering,” show promise but feel disjointed and underdeveloped. The latter briefly dips into gothic territory midway through, with darker riffs and a haunting organ which sounds slightly out of context here, but the style could fit Sylvanshine very well given more time and attention.
Sylvanshine has all the makings of a young artist in the process of finding his voice, both figuratively and literally. Ion Ureche has a natural talent for composing and performing guitar melodies that mirror the ever-changing spectrum of human emotion. That said, further vocal training—or the addition of a more practiced vocalist—would do wonders for the project. He also has room to grow as a songwriter, and I get the sense that his skill ceiling is high. The Offering is a respectable debut album, but improvement in these main areas will help Sylvanshine to truly stand out amongst the crowd.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: sylvanshine.bandcamp.com | facebook.com/sylvanshineMusic
Releases Worldwide: May 23rd, 2025#25 #2025 #Alcest #BlackMetal #Blackgaze #May25 #PostBlackMetal #Review #Reviews #RomanianMetal #SelfRelease #Shoegaze #Slowdive #Sylvanshine #TheOffering #WindsOfTragedy
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Sylvanshine – The Offering Review
By Killjoy
The contrast of opposites is fundamentally important in art, and Sylvanshine is an apt name to illustrate this principle. As I just learned from Wikipedia, “Sylvanshine is an optical phenomenon in which dew-covered foliage with wax-coated leaves retroreflect beams of light, as from a vehicle’s headlights. This effect sometimes makes trees appear snow-covered at night during summer.” Fittingly, Ion Ureche’s blackgaze project from Bucharest, Romania, deals with opposing themes, specifically “love and loss, hope and desperation.” Not exactly uncommon themes in blackgaze, but how clearly does Sylvanshine’s debut full-length album portray them?
The Offering oscillates fluidly between the “black” and the “gaze” at a moment’s notice. Crystalline post-black tremolo riffs shimmer and dance to and fro, intertwined with distorted guitar chords and blast beats. The dreamier guitarwork is not unlike that of Alcest’s debut Souvenirs d’un Autre Monde, with plenty of Shelter-era influence also thrown in the mix. What sets Sylvanshine apart from many of its blackgaze peers is the heavy reliance on delicate acoustic guitar plucking and strumming in the vein of early Slowdive. There are three tracks entirely dedicated to this instrument, and it features prominently in the bridges of several others to counterbalance the moody aggression with an intimate touch.
It’s clear that Ureche is a guitarist first and foremost.1 The Offering’s crisp, clear, and poignant lead guitar lines are where the emotional duality alluded to in the promo material shines. The ringing, sorrowful melodies in “Cri de Coeur” and “Rebirth” grow more hopeful as the songs progress, like sunlight breaking through cloudy fissures. If the vocals were similarly expressive, Sylvanshine would be onto something special. They remind me of Sergio Catalán’s deep growls in Winds of Tragedy, but, unfortunately, with more croak than roar. At best, they sound flat (“The Moon and Stars Above,” “Cri de Coeur”) and, at worst, they clash with the guitars (“The Offering”). To his credit, Ureche plays to his strengths by allocating the majority—if not entirety—of each song to instrumental performances.
However, this songwriting decision could have benefited from further refinement in execution. This is particularly true of the tracks that are solely instrumental. It would have been fine to start the album with one acoustic track (“Dirge for a Love”), but the placement of another (“Nothing Will Ever Be the Same”) immediately after the first proper song, “Cri de Coeur,” causes a major pacing stumble. The acoustic guitar bouquet “Reverie” that later follows is gorgeous, but repeats for too long and should have either been fleshed out or trimmed. By the time 5-minute closer “Rebirth” rolls around, instrumental fatigue has set in. Some of the other short songs, “Running from Myself” and “The Offering,” show promise but feel disjointed and underdeveloped. The latter briefly dips into gothic territory midway through, with darker riffs and a haunting organ which sounds slightly out of context here, but the style could fit Sylvanshine very well given more time and attention.
Sylvanshine has all the makings of a young artist in the process of finding his voice, both figuratively and literally. Ion Ureche has a natural talent for composing and performing guitar melodies that mirror the ever-changing spectrum of human emotion. That said, further vocal training—or the addition of a more practiced vocalist—would do wonders for the project. He also has room to grow as a songwriter, and I get the sense that his skill ceiling is high. The Offering is a respectable debut album, but improvement in these main areas will help Sylvanshine to truly stand out amongst the crowd.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: sylvanshine.bandcamp.com | facebook.com/sylvanshineMusic
Releases Worldwide: May 23rd, 2025#25 #2025 #Alcest #BlackMetal #Blackgaze #May25 #PostBlackMetal #Review #Reviews #RomanianMetal #SelfRelease #Shoegaze #Slowdive #Sylvanshine #TheOffering #WindsOfTragedy
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Sylvanshine – The Offering Review
By Killjoy
The contrast of opposites is fundamentally important in art, and Sylvanshine is an apt name to illustrate this principle. As I just learned from Wikipedia, “Sylvanshine is an optical phenomenon in which dew-covered foliage with wax-coated leaves retroreflect beams of light, as from a vehicle’s headlights. This effect sometimes makes trees appear snow-covered at night during summer.” Fittingly, Ion Ureche’s blackgaze project from Bucharest, Romania, deals with opposing themes, specifically “love and loss, hope and desperation.” Not exactly uncommon themes in blackgaze, but how clearly does Sylvanshine’s debut full-length album portray them?
The Offering oscillates fluidly between the “black” and the “gaze” at a moment’s notice. Crystalline post-black tremolo riffs shimmer and dance to and fro, intertwined with distorted guitar chords and blast beats. The dreamier guitarwork is not unlike that of Alcest’s debut Souvenirs d’un Autre Monde, with plenty of Shelter-era influence also thrown in the mix. What sets Sylvanshine apart from many of its blackgaze peers is the heavy reliance on delicate acoustic guitar plucking and strumming in the vein of early Slowdive. There are three tracks entirely dedicated to this instrument, and it features prominently in the bridges of several others to counterbalance the moody aggression with an intimate touch.
It’s clear that Ureche is a guitarist first and foremost.1 The Offering’s crisp, clear, and poignant lead guitar lines are where the emotional duality alluded to in the promo material shines. The ringing, sorrowful melodies in “Cri de Coeur” and “Rebirth” grow more hopeful as the songs progress, like sunlight breaking through cloudy fissures. If the vocals were similarly expressive, Sylvanshine would be onto something special. They remind me of Sergio Catalán’s deep growls in Winds of Tragedy, but, unfortunately, with more croak than roar. At best, they sound flat (“The Moon and Stars Above,” “Cri de Coeur”) and, at worst, they clash with the guitars (“The Offering”). To his credit, Ureche plays to his strengths by allocating the majority—if not entirety—of each song to instrumental performances.
However, this songwriting decision could have benefited from further refinement in execution. This is particularly true of the tracks that are solely instrumental. It would have been fine to start the album with one acoustic track (“Dirge for a Love”), but the placement of another (“Nothing Will Ever Be the Same”) immediately after the first proper song, “Cri de Coeur,” causes a major pacing stumble. The acoustic guitar bouquet “Reverie” that later follows is gorgeous, but repeats for too long and should have either been fleshed out or trimmed. By the time 5-minute closer “Rebirth” rolls around, instrumental fatigue has set in. Some of the other short songs, “Running from Myself” and “The Offering,” show promise but feel disjointed and underdeveloped. The latter briefly dips into gothic territory midway through, with darker riffs and a haunting organ which sounds slightly out of context here, but the style could fit Sylvanshine very well given more time and attention.
Sylvanshine has all the makings of a young artist in the process of finding his voice, both figuratively and literally. Ion Ureche has a natural talent for composing and performing guitar melodies that mirror the ever-changing spectrum of human emotion. That said, further vocal training—or the addition of a more practiced vocalist—would do wonders for the project. He also has room to grow as a songwriter, and I get the sense that his skill ceiling is high. The Offering is a respectable debut album, but improvement in these main areas will help Sylvanshine to truly stand out amongst the crowd.
Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: sylvanshine.bandcamp.com | facebook.com/sylvanshineMusic
Releases Worldwide: May 23rd, 2025#25 #2025 #Alcest #BlackMetal #Blackgaze #May25 #PostBlackMetal #Review #Reviews #RomanianMetal #SelfRelease #Shoegaze #Slowdive #Sylvanshine #TheOffering #WindsOfTragedy
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9 tracks in and there are no duds; this album keeps surpassing itself in grooviness, with the dopamine hits coming with every key change, buildup, breakdown. I think #Stereolab have done a #Slowdive here and outdone the first, legendary phase of their career. #InstantHologramsOnMetalFilm
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9 tracks in and there are no duds; this album keeps surpassing itself in grooviness, with the dopamine hits coming with every key change, buildup, breakdown. I think #Stereolab have done a #Slowdive here and outdone the first, legendary phase of their career. #InstantHologramsOnMetalFilm
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9 tracks in and there are no duds; this album keeps surpassing itself in grooviness, with the dopamine hits coming with every key change, buildup, breakdown. I think #Stereolab have done a #Slowdive here and outdone the first, legendary phase of their career. #InstantHologramsOnMetalFilm
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9 tracks in and there are no duds; this album keeps surpassing itself in grooviness, with the dopamine hits coming with every key change, buildup, breakdown. I think #Stereolab have done a #Slowdive here and outdone the first, legendary phase of their career. #InstantHologramsOnMetalFilm
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9 tracks in and there are no duds; this album keeps surpassing itself in grooviness, with the dopamine hits coming with every key change, buildup, breakdown. I think #Stereolab have done a #Slowdive here and outdone the first, legendary phase of their career. #InstantHologramsOnMetalFilm
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Happy Sunday with "radiodellaconcia-rock": #Bodega,#Cure,#Kills,#HolyWave,#Slowdive,#PapaRoach,#Allah-Las,#Goat,#ThrowingMuses,#Mooon etc. Blog listening web radio: www.radiodellaconcia-rock.it Link: https://cast4.asurahosting.com:2199/start/claudio
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Confirmaciones cartel Atlantic Fest 2025: Primal Scream, The Jesus & Mary Chain Slowdive y más leyendas desembarcan en Vilagarcía:
La música en directo volverá a llenar de magia la Praia da Concha de Vilagarcía...#PrimalScream #Slowdive #TheJesusMaryChain #XoelLópez #Zahara
https://www.guitarcalavera.com/confirmaciones-cartel-atlantic-fest-2025-primal-scream-the-jesus-mary-chain-slowdive-y-mas-leyendas-desembarcan-en-vilagarcia/?feed_id=1867&_unique_id=67dc014c40bf4 -
New Artist announced for Southside Festival 2025: 🔥 Slowdive 🔥
🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO#Southside_Festival_2025 #Slowdive #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement
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New Artist announced for Southside Festival 2025: 🔥 Slowdive 🔥
🎶 Listen to the current LineUp on YouTube and Spotify: https://fyrefestivals.co
🎟️ Get your Tickets now: https://prf.hn/l/EJnYMdO#Southside_Festival_2025 #Slowdive #fyre_festivals #livemusic #youtube #spotify #music #musicfestivals #playlist #tickets #announcement
