#usmetal — Public Fediverse posts

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Junior year tends to make or break a band. No one expects too much from freshmen, but Professor Druhm1 recognized potential in doomsters Early Moods, awarding their self-titled debut (2022) an enthusiastic B+. We didn’t cover it, but the band’s follow-up fell victim to the dreaded sophomore slump, albeit modestly. A Sinner’s Past (2024) continued proving Early Moods to be attentive students of classic doom and NWOBHM, but at 50 minutes, mistakes quantity for quality. Returning from summer vacation, this LA quintet excitedly arrives on campus with their third full-length, Ready for the Grave. As their new headmaster, I’m hoping Early Moods will crack the books and return to (or even exceed) their marks from freshman year. Subsequently, I urge them to avoid excessive extracurriculars, as well as temptation by those extra extracurriculars (down by the bushes outside campus).

Influenced as they are by the classics, Early Moods do not come off as plagiarists. Guitarists Oscar Hernandez and Eddie Andrade channel Black Sabbath and Trouble in their proclivity for huge riffs and wah-wah’d solos, while the likes of Iron Maiden and Diamond Head show up by way of epic harmonies and middle-gear chuggery. The eponymous opener perfectly exemplifies the band’s mixing of doom and NWOBHM. “Ready for the Grave” kicks off with a simple, snakey, and slow riff that quickly turns into a driving force. Early Moods are not in want of riffs, as demonstrated by the dark, doomy goodness littered throughout “Inquisition” (an album highlight). Rhythm section Elix Felciano (bass) and Chris Flores (drums) are no slouches, invigorating these songs via changes in time signature and tempo (“The Prowler,” “When Light Fades”). Above it all are the charming cords of Alberto Alcaraz, which quiver, drawl, and boom, to much delight. His is a perfect doom vocal for me: sentimental without feeling schmaltzy. Presented through well-balanced, warm production, Ready for the Grave sounds of the late-70s/early 80s, but none of its obvious influences ever completely take over. Undoubtedly, Early Moods posses their own voice.

Ready for the Grave stands as high-quality work for its satisfyingly subtle songwriting. Early Moods primarily stick to the time-tested verse-chorus-bridge formula, though this shouldn’t suggest monotony. Indeed, the songs feel like features for different facets of the band, whether it’s the indelible riffing (“Inquisition”), pulsating grooves (“Thy Eternal Grief”), or spooky synths (“The Prowler”).2 Small choices, too, end up paying larger dividends than expected. Ending with a third verse, for example (“Ready for the Grave”), or fading out on an appropriately titled song (“When Light Fades”), all suggest a band paying careful attention to detail. At 7 tracks in 41 minutes, Ready for the Grave returns to a winning formula. Coupling the shorter track count of A Sinner’s Past with the overall brevity of the debut, Early Moods play to their strengths, offering listeners well-crafted tunes that breathe.

Alright, it’s time to break out the red pen. My first criticism concerns pacing. Ready for the Grave kicks the door in with two fantastic cuts (“Ready for the Grave,” “Inquisition”), but it takes a small but noticeable dip afterwards. The album turns to a solid change of pace with a pseudo-ballad for song three (“Thy Eternal Grief”), but Ready for the Grave never quite reaches the heights of its opening duo. “Thy Eternal Grief” brings up a second, minor knock, concerning the vocals. As discussed, Alcaraz generally kills it, but there are moments when his voice feels strained, or where he could make sparse sections more colorful by exploring his range (“When Light Fades”). And finally, some bolts could be tightened, despite my general enthusiasm for the songwriting. Some riff vampings here (“Ready for the Grave”) and abrupt endings there (“Her Wicked Spells”) call for minor, local revisions.

All told, I am pleased to report that Early Moods are more than back on track in their junior year. Ready for the Grave vastly improves upon its overlong predecessor, and it ever-so-slightly supersedes the band’s promising debut. It’s a record that’s both catchy and spacious, with distinguishing elements that make it rise above simple nostalgia. Fans of doom and NWOBHM especially owe it to themselves to become familiar with these promising pupils, if they haven’t already. Next time around, I don’t foresee Early Moods catching Senioritis—in fact, they seem poised to pass through Gates of Greatness, in due time.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: RidingEasy Records
Websites: Instagram | Facebook
Releases Worldwide: September 18th, 2026

Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,1 vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.2 On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026

Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,1 vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.2 On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026

Show 2 footnotes

1. Yes, Brann Dailor also sings for Mastodon, but not at the outset. ↩
2. The band also cite Deafheaven and God Is an Astronaut as influences. ↩

Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,1 vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.2 On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026

Metal is filled with reluctant vocalists. Whether it’s Dave Mustaine ultimately deciding to front Megadeth, or Mikael Åkerfeldt hesitantly filling the void in Opeth, or Troy Sanders and Brent Hinds eventually co-voicing Mastodon,1 vocals often exist in the genre as an afterthought. But what happens when there’s no after to the afterthought? You get something like Only Echoes, an instrumental post-metal quartet from Denver, CO. In their promo materials, Only Echoes explain that they formed expecting vocals to play a part in their music, but ‘when the time came to decide who would sing, no one raised a hand.’ This lack of vocals, however, became a staple of the band’s identity, fueling their self-titled EP (2018) and debut LP Sunsickness (2022), both of which were independently released. Arriving via Braeburn Records, sophomore album Born Adrift promises ‘an internal narrative without relying on lyrics to explain it.’ Said promo materials do, however, sketch the narrative: the album charts ‘a journey through survival, uncertainty, and the strange momentum that keeps a person moving through hostile waters.’

Without a vocalist, Only Echoes rely on the versatile arsenals of their instrumentalists to convey Born Adrift’s arc. The band references several acts one would expect as influences on an (instrumental) post-metal album: Russian Circles, Pelican, Isis.2 On the guitar front, Austin Minney and Dustin Yourishin combine for a menagerie of flickering melodies, glimmering clean chords, and chunky chugs. Drummer Zach Sirotkin lays down a bevy of blast beats, d-beats, and double-bass thunder. Meanwhile, bassist Ben Rosenberg periodically pokes through the mix with some upper-fret flourishes. As some elements of this description of Only Echoes hint at, Born Adrift doesn’t quite channel the spirit of the bands cited above. Yes, there are some well-earned quiet-to-heavy, heavy-to-quiet transitions across the album. But by and large, Only Echoes play far less patiently than these groups, swiftly shuffling between blissed-out breathers, punk-rock paces, and core-ish chuggery. Despite their mostly 6–8 minute lengths, the songs tend to sound like bursts of metal grab bag.

Because all but one song on Born Adrift briskly bounces between styles, any sense of album-spanning narrative is hard to detect. My criticism of the grab-bag songwriting notwithstanding, “Born Adrift” and “Tempest” do open the record with excitement, showcasing a band capable of moving melodies and infectious tempos. “So Tightly Bound” seems like it will be compositionally different; it develops an enchanting vibe across three minutes. But then the song quickly jumps into a d-beat-driven punk part, capped off with some obligatory chugging. It’s as if there’s a missing middle between the beginning and the punky outburst. After the aptly titled interlude (“Inter”), the album closes by showing some signs of patient development (“Steps Ahead of Drowning”). But then Only Echoes revert back to their familiar mode, jarringly contrasting serene buildups with breakneck speed (“Shimmering Death”). At 35 minutes, Born Adrift isn’t exactly a chore to get through, but it often feels longer than it is. I almost get the sense that Only Echoes tried to cram an album’s worth of material into nearly every song.

Unfortunately, sonic missteps also become a barrier to enjoying Only Echoes’s sophomore outing. On the production end of things, Born Adrift does seem cognizant of intentional mixing: the drums and bass grow more present in sections where the guitars are textural and ambient. The guitars, however, unpleasantly dominate the mix when Minney and Yourishin turn towards chugging rhythms. The bass, when it sticks to lower registers, gets lost and feels inessential. The big issue, however, concerns the low bitrate of Born Adrift’s audio files (128 kbps). At lower volumes, the album sounds compressed and mushy; at higher volumes, it’s clippy and grating. As a metal album in want of blasting, this latter fact is quite unfortunate.

Born Adrift ultimately disappoints, but not for its lack of vocals per se. As instrumentalists, Only Echoes clearly possess chops, and they show a knack for crafting and connecting affecting passages (“Born Adrift,” “Tempest”). Too often, however, these passages are disrupted by abrupt stylistic changes that come off as contrived. Additionally, the sonic flaws sadly hamper an album that does, at times, sound massive and powerful. In my view, Only Echoes don’t necessarily need someone to step up and command the microphone. They might, however, exercise the kind of restrained patience that, for me at least, tends to make for notable instrumental metal/rock.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: 128 kbps mp3
Label: Braeburn Records
Websites: Official | Instagram | Facebook
Releases Worldwide: August 14th, 2026