Tuesday the Sky – Indoor Enthusiast Review

By Baguette of Bodom

Jim Matheos is not the kind of artist to sit still in one place for long. Best known for his splendid guitar work in amorphous US progressive metal band Fates Warning, he also wields a vast assortment of offshoots and side projects, some closer to his usual style than others. Instrumental solo effort Tuesday the Sky is one of Matheos’ more distant adventures with its ambient post-rock soundscapes and touches of electronica. Debut album Drift spawned in 2017 in the wake of Theories of Flight’s writing sessions. Moody 2021 follow-up The Blurred Horizon largely eschewed the more explosive bits, leaving one Huck n Roll with respectful but mixed feelings. Now, four more years later, Matheos is revisiting Tuesday the Sky again with third album Indoor Enthusiast. How enthusiastic should fans of Matheos be for the return of this questionably named project?1

Crafting delicate atmospheres remains Tuesday the Sky’s bread and butter. Taking notes from Sigur Rós and Brian Eno alike, Indoor Enthusiast drifts between moods and genres. On the minimalistic end of the spectrum, dreamy and introspective electronica tracks like “Zugzwang” and “The Last Lonely Lamppost” act as the base sound for the album. Drums and guitars provide additional instrumentation as counterbalance in both accentuating and maximalist ways, occasionally entering familiar metal territory (“The Nearest Exit May Be Behind You,” “Set Fire to the Stars”). While Matheos experimented with things like this alongside Kevin Moore in OSI, the material on Indoor Enthusiast is generally more low-key than OSI’s most somber moments. And sans vocals, the onus is even more on the songwriting to prove the album’s worth.

Indoor Enthusiast takes much better advantage of layers and texture than prior works. Drift kept its loadout of strange but exciting ideas separate, and most of The Blurred Horizon stuck to a quiet, minimalistic gloom. In contrast, Indoor Enthusiast fuses its elements together more often in both subtle and unsubtle ways. This leads to a stronger active experience while still making sense album flow-wise. Improved composition allows some of the quieter material to shine and pop (“Get Lost,” “Between Wind and Water”), and “Does It Need to Be So Loud?” even brings back the electronic alt-rock gloom of Disconnected. Deep build-ups lead to satisfying crescendos, with “Set Fire to the Stars” using the record’s full arsenal to make a case for the strongest Tuesday the Sky song yet. Not all of the record’s quirks land equally well. For instance, some of the glitchier effects used (“The Nearest Exit May Be Behind You,” “Memento Mori”) are distracting and take away from the album’s introspective vibe. But overall, Indoor Enthusiast’s songs have both the variety and quality to be distinct and interesting.

The instrumentation of Tuesday the Sky sounds as crisp as ever, a quality expected of Matheos. The rock instruments sound excellent, accentuating the wide variety of electronic effects at the core of the album. The album’s elements combine naturally and have plenty of room to breathe. Though wonderfully produced, it does feel like there is too much downtime between Indoor Enthusiast’s highlights. Matheos’ greatest strength is undoubtedly his tasteful and subtly complex guitar wizardry, and sometimes the nature of a project like Tuesday the Sky gets in the way of that strength—the back-to-back of twins “Ghost Train” and “Zugzwang” slowing down momentum early on. The second half of the album, fortunately, avoids the “background music” pitfall. While I do feel like the album still leaves something on the table, its strong highlights make the record a pleasant experience front to back.

Though wandering slightly off course at times, Indoor Enthusiast is the most cohesive Tuesday the Sky record yet. Its individual ingredients of rock, metal, and ambient electronic mix together better than before, with memorable dynamic shifts keeping things going. Compared to last year’s North Sea Echoes debut, Matheos has certainly improved the minimalistic experimental side of his songwriting; the album as a whole feels like it develops towards something. I do still think he can do even better, but he is making it work. I don’t know what direction Tuesday the Sky will go to next—if any—but Indoor Enthusiast gives this side of Matheos a fresh and solid foundation.

Rating: Good!
DR: 9 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records
Websites: tuesdaythesky.bandcamp.com | tuesdaythesky.com | facebook.com/TuesdaytheSky
Releases Worldwide: October 24th, 2025

#2025 #30 #Ambient #AmericanMetal #BrianEno #Electronica #FatesWarning #IndoorEnthusiast #Instrumental #InstrumentalMetal #MetalBladeRecords #NorthSeaEchoes #Oct25 #OSI #PostRock #ProgressiveMetal #ProgressiveRock #Review #Reviews #SigurRÃS #TuesdayTheSky

Stuck in the Filter: July 2025’s Angry Misses

By Kenstrosity

If you thought June was hot, you aren’t ready for what July has in store. The thin metallic walls of these flimsy ducts warp and soften as the sweltering environs continue to challenge the definition of “habitable.” But I must force my minions to continue their work, as this duty is sacred. Our ravenous appetites cannot be slaked without the supplementary sustenance the Filter brings!

Thankfully, we rescued just enough scraps to put together a meager spread. Enjoy in moderation!

Kenstrosity’s Blackened Buds

Echoes of Gloom // The Mind’s Eternal Storm [July 12th, 2025 – Self-Release]

Queensland isn’t my first thought when considering locales for atmospheric black metal. A genre so often built upon frigid tones and icy melodies feels incongruous to the heat and beastliness of the Australian landscape. Yet, one-man atmoblack act Echoes of Gloom persists. Masterminded by one Dan Elkin, Echoes of Gloom evokes a warm, muggy, and morose spirit with debut record The Mind’s Eternal Storm. But unlike many of the atmospheric persuasion, Echoes of Gloom also injects a classic heavy metal attack and a vaguely punky/folky twist into their formula to keep interest high (“Immortality Manifest,” “Throes of Bereavement I”). Furthermore, Echoes of Gloom weaponizes their energetic take on depressing atmoblack such that even as my head bounces to the riffy groove of surprisingly propulsive numbers like “The Wandering Moon” and “Great Malignant Towers of Delirium,” a palpable pall looms ever present, sapping all color from life as I witness this work. This in turn translates well to the long form, as demonstrated by the epic two-part “Throes of Bereavement” suite and ripping ten-minute closer “Wanderer of the Mind’s Eternal Storm,” boasting dynamics uncommon in the atmospheric field. In sum, if you’re the kind of metal fan that struggles with the airier side of the spectrum, The Mind’s Eternal Storm might be a good place to start.

Witchyre // Witchy Forest Dance Contest [July 14th, 2025 – Self-Release]

Germany’s Witchyre answer a question nobody asked but everyone should: what would happen if black metal and dance music joined forces? With debut LP Witchy Forest Dance Contest, we get to experience this mad alchemy firsthand, and it is an absolute joy! The staunchly anti-fascist Witchyre take the raw sound everyone knows and pumps it full of groove, bounce, and uninhibited fun for a raucous 46 minutes. Evoking equal parts Darude and Darkthrone, bangers like “Let There be Light…,” “Witchy Forest Dance Party,” and “Lost in a Dream” burst with infectious energy that feels demonic and exuberant at the same time. The raw production of the metallic elements shouldn’t work with the glossy sheen of electronic doots, but Witchyre’s often pop-punky song structure that develops as these divergent aesthetics collide adeptly bridges the gap (“Spirits Twirling,” “The Vampire Witch,” “Dragon’s Breath”). My main gripe is that even at a reasonable 46 minutes, each song feels a bit bloated, and some dance elements feel recycled in multiple places (“The Spirits Robbed My Mind”). But don’t let that scare you away. Witchyre is a delightful little deviation from convention fit for fans of Curta’n Wall and Old Nick, and everyone should give it a whirl just for fun!

Owlswald’s Hidden Hoots

Sheev // Ate’s Alchemist [July 11th, 2025 – Ripple Music]

While stoner can be hit-or-miss, Ripple Music often delivers the goods. And with Berlin’s Sheev, they can add another notch to their sativa-flavored belt. Since 2017, the four-piece has been brewing their unique, progressive-infused stoner rock sound. On their second full-length, Ate’s Alchemist, Sheev doubles down on their sonic elixir, with a throwback prog-rock vibe that evokes the likes of Yes and Jethro Tull, but with heavy doses of grunge, jam and modern rock. Vocalist Nitzan Sheps’ provides a stripped-down and authentic performance, sounding like a cross between Muse’s Matt Bellamy and Alice in Chains’ Layne Staley. The rhythm section is particularly great here. Drummer Philipp Vogt’s kit work is exceptionally musical, with intricate cymbal patterns on tracks like “Elephant Trunk,” “Cul De Sac,” and “King Mustard II” that fuel deep-pocket grooves. He also provides Tool-like syncopated rhythms on tracks like “Tüdelüt” and “Henry” that lock with bassist Joshan Chaudhary. Chaudhary’s bass playing is rare in its prominence and clarity in the mix. He maintains a tight pocket while also venturing out regularly with nimbler, adventurous flurries that highlight his technical skill. Yeah, a couple of the longer songs get a little lost, but the album is packed with killer musicianship and vocal hooks that stick with you, so it barely matters. Overall, Sheev has delivered a solid record that I’ll be spinning a lot—and you should too.

Dephosphorus // Planetoktonos [July 18th, 2025 – Selfmadegod Records/7 Degrees Records/Nerve Altar]

Space…the final grind-tier. On their fifth album, Planetoktonos (“Planetkiller”), Greek astro-grind quartet Dephosphorus rejects normal grind classifications and instead annihilates worlds with a brutal, interstellar collision of grind, blackened death, and hardcore. Taking inspiration from the harsh sci-fi of James S.A. Corey’s The Expanse, Planetoktonos is a relentless twenty-eight-minute assault—a sonic asteroid belt of thick, menacing distortion and time-warped drumming that channels Dephosphorus’ raw, furious energy. “The Triumph of Science and Reason” and “After the Holocaust” attack with the ruthless speed of Nasum while others, such as “The Kinetics of a Superintelligence Explosion,” “Hunting for Dyson Spheres,” and “Calculating Infinity,” punctuate sludgy aggression with razor-sharp, shredding passages reminiscent of early Mastodon that offer contrasting technical and rhythmic hostility. Vocalist Panos Agoros’ despairing howls are a particular highlight, full of a gravelly, blackened urgency that sounds the alarm for an interplanetary attack. Gang vocals on tracks like “Living in a Metastable Universe” and “The Kinetics of a Superintelligence Explosion” add extra weight to his frantic performance, proving Dephosphorus can incinerate worlds and still have a blast doing it. Raw, intense, and violent, Planetokonos is a must-listen for fans seeking Remission-era energy.

Tyme’s Tattered Treats

Mortual // Altars of Brutality [July 4th, 2025 – Nuclear Winter Records]

From the fetid rainforests of Costa Rica, San Jose’s Mortual dropped their sneaky good death metal debut, Altar of Brutality, on Independence Day this year. Free of frills and fuckery, Justin Corpse and Master Killer—both have guitar, bass, and vocal credits here—go for the jugular, providing swarms of riffs entrenched in filthy, Floridian swamp waters and powdered with Jersey grit. Solo work comes fast, squealy, and furious as if graduated from the Azagthothian school of shred (“Dominion of Eternal Blasphemy,” “Skeletal Vortex”), as hints of early Deicide lurk within the chugging chunks of “Altar of Brutality” and whiffs of early Monstrosity float amongst the speedier nooks and crannies of “Divine Monstrosity.”1 Incantationally cavernous, the vocals fit the OSDM mold to a tee, sitting spaciously fat and happy within Dan Lowndes’ great mix and master, which consequently draws out a bestial bass sound that permeates the entirety of Altar of Brutality with low-end menace. Chalo’s (Chemicide) drum performance warrants particular note, as, from the opening tom roll of “Mortuary Rites,” he proceeds to bash skulls throughout Altar of Brutality’s swift thirty-five-minute runtime with a brutal blitz of double-kicking and blast-beating kit abuse. Embodying a DIY work ethic that imbues these tracks with youthful energy and a wealth of death metal character, Mortual aren’t looking to reinvent the wheel as much as they’d like to crush you under its meaty treads, over and over again.

Stomach // Low Demon [July 18th, 2025 – Self-Release]

Droney, doomy, sweaty, and sludgy as fuck, Stomach’s blast furnace second album, Low Demon, is the antithesis of summer-fun metal. Hailing from Geneva, Illinois, Stomach is drummer/vocalist John Hoffman (Weekend Nachos) and guitarist Adam Tomlinson (Sick/Tired, Sea of Shit), who capably carry out their cacophonous work in such a way as to defy the fact that they’re only a duo.2 At volume, and believe me, you’ll want to crank this fucker to eleven, Low Demon will have you retching up all that light beer you drank by the pool and crying for yer mom, as “Dredged” oozes, rib-rattling from the speakers, a continuous, four-and-a-half-minute chord-layered exercise in exponentially applied tonal pressure. With five tracks spanning just over forty-three minutes, there’s not a lot on Low Demon that’s in a hurry, and aside from sections of up-tempo doom riffs (“Get Through Winter”) and some downright grindery (“Oscillate”) offering respite from the otherwise crushing wall of sound, listening to Stomach is akin to being waterboarded with molasses. Heavy influences from Earth, Sunn O))), Crossed Out, and Grief—whose Come to Grief stands as a sludge staple—form the basis for much of Stomach’s sound, and while Primitive Man and Hell draw apt comparisons as well, I’m guessing you know what you’re getting into by now. Maniacally cinematic and far from light-hearted, Stomach’s Low Demon was everything I didn’t think I needed during this hot and humid-as-an-armpit-in-hell summer.

Killjoy’s Flutes of Fancy

Braia // Vertentes de lá e cá [July 10th, 2025 – Self-Release]

Bruno Maia is one of the most inventive and hardworking musicians that I know of. Best known for the whimsical Celtic folk metal of Tuatha de Danann, he also has his own folk rock side project, Braia. Vertentes de lá e cá explores the rich history and culture of the Minas Gerais state in his native country, Brazil.3 Bursting with more sweetness than a ripe mango, Vertentes de lá e cá sports a huge diversity of musical styles and instruments. A combination of flute, viola, and acoustic guitar forms the backbone of most of the songs, like the Irish jigs in “Vertentes” or the flitting melodies of “Princesa do Sul.” My ears also detect accordion (“O Cururu do Ingaí”), saxophone (“Serra das Letras”), harmonica (“Hipólita”), banjo (“Carrancas”), and spacey synth effects (“Pagode Mouro”). That last one might sound out of place, but it makes more sense after learning of the local tales of extraterrestrial encounters. Maia sings in only two of the twelve tracks (“Emboabas” and “Rei do Campo Grande”), but all 41 minutes should be engaging enough for listeners who are typically unmoved by instrumental music. Though thematically focused on one specific location, Vertentes de lá e cá deserves to be heard by the entire world.

Storchi // By Far Away [July 25th, 2025 – Self-Release]

I would guess that the “experimental” tag causes some degree of trepidation within most listeners. However, occasionally an artist executes a fresh new vision so confidently that I can’t help but wonder if it’s secretly been around for a long time. Storchi, an instrumental prog group from Kabri, Israel, utilizes a flute in creative ways. Its bright, jazzy demeanor almost functions as a substitute for a vocalist in terms of expressiveness and personality. The Middle Eastern flair combined with modest electronic elements reminds me of Hugo Kant’s flute-heavy multicultural trip-hop. The chunky palm-muted guitar and bass borrow the best aspects of djent alongside eccentrically dynamic drum tempos. There is premeditation amidst the chaos, though. The triplet tracks “Far,” “Further,” and “Furthest” scattered throughout By Far Away each offer a unique rendition of the same core flute tune. “Lagoona” and “Smoky” make good use of melodic reprisals at the very end to neatly close the loop on what might have otherwise felt like more disjointed songs. Despite frequent and abrupt stylistic shifts, Storchi manages to make the 31-minute runtime of By Far Away feel more enjoyable than jolting. Flute fanatics should take note.

ClarkKent’s Addictive Addition

Daron Malakian and Scars on Broadway // Addicted to the Violence [July 19th, 2025 – Scarred for Life]

Since System of a Down disbanded, guitarist Daron Malakian has gone on to release 3 full-length albums under the moniker Scars on Broadway between 2008 and 2025. This spinoff project has proven Malakian to be the oddball of the group, and this goofiness hasn’t mellowed since SOAD’s debut released 27 years ago. The energetic set of tunes on Addicted to the Violence mixes nu-metal, groove rock, and pop with plenty of synths to create some fun and catchy beats. Sure, you have to delve through some baffling lyrics,4 such as when Malakian sings that there’s “a tiger that’s riding on your back / And it’s singing out ‘Rawr! Rawr!'” (“Killing Spree”). Malakian also turns to the familiar theme of drug addiction that he and Serj have explored from “Sugar” to “Heroine” to “Chemicals.”5 This time around, it’s “Satan Hussein,” where he mixes Quaaludes and Vicodin with Jesus Christ. To offset the repetition within songs, Malakian has the sense to mix things up. There’s the nu-metal cuts of “Satan Hussein” and “Destroy the Power,” featuring energetic vocalizations and grooves, but there’s also a lot of pop (“You Destroy You”). The riffs may not be as wild or creative as times past, but Addicted to the Violence makes use of a variety of instruments that keep things fresh, from an organ (“Done Me Wrong”) to a mandolin (“You Destroy You”) to some sweet synth solos. There’s even a brief saxophone appearance to conclude the album. Yes, I know exactly what you’re thinking: “This sounds awesome!”

#2025 #7DegreesRecords #AddictedToTheViolence #AliceInChains #AltarsOfBrutality #AmericanMetal #AteSAlchemist #AtmosphericBlackMetal #AustralianMetal #BlackMetal #BlackenedDeathMetal #Braia #BrazilianMetal #ByFarAway #Chemicide #CostaRicanMetal #CrossedOut #CurtaNWall #Dance #Darkthrone #DaronMalakianAndScarsOnBroadway #Darude #DeathMetal #Deathgrind #Deicide #Dephosphorus #Doom #DoomMetal #Drone #Earth #EchoesOfGloom #EDM #ExperimentalMetal #FolkMetal #FolkRock #GermanMetal #Gindcore #GreekMetal #Grief #GrooveMetal #Hardcore #Hell #HugoKant #InstrumentalMetal #IsraeliMetal #JethroTull #Jul25 #LowDemon #Mastodon #MelodicBlackMetal #Monstrosity #Mortual #Muse #Nasum #NerveAltar #NuMetal #NuclearWinterRecords #OldNick #Planetoktonos #PopMetal #PrimitiveMan #ProgressiveMetal #RawBlackMetal #Review #Reviews #RippleMusic #ScarredForLife #SeaOfShit #SelfRelease #SelfmadegodRecords #Sheev #SickTired #Sludge #SludgeMetal #Stomach #StonerDoom #StonerMetal #Storchi #StuckInTheFilter #StuckInTheFilter2025 #SunnO_ #SystemOfADown #TheMindSEternalStorm #Tool #TuathaDeDanann #VertentesDeLáECá #WeekendNachos #WitchyForestDanceContest #Witchyre #Yes

Modder – Destroying Ourselves for a Place in the Sun Review

By Grin Reaper

Blending sludge metal and electronica make for fascinating bedfellows, and that’s exactly what instrumental outfit Modder brings to the table with Destroying Ourselves for a Place in the Sun. I don’t recall encountering this genre combo before, but the unlikely pairing fits together in compelling and novel ways. Destroying Ourselves for a Place in the Sun is one part early Mastodon and one part The Prodigy, and it works better in practice than I’d ever expect it to on paper. Both styles embrace the bottom end, and in a live setting, I imagine Modder is unapologetically crushing. But it takes more than novelty to guarantee a grand time, so let’s dig in and see what goodies this Belgian quintet serves up.1

Though third outing Destroying Ourselves for a Place in the Sun unites sludge and dance, it wasn’t always so, as Modder has evolved with each release. On their self-titled debut, Modder trod the well-worn doom path with low-end crunch and abundant fuzz, recalling Sleep and Electric Wizard. Sophomore album The Great Liberation Through Hearing injected quicker paces and subdued attitudes, delivering a rich variety of textures that plays like Inter Arma sans vocals. Destroying Ourselves for a Place in the Sun continues the evolution of Modder’s sound, this time embracing dance-ready pulses and electronic trappings that occasionally approach Fear Factory’s Remanufacture (“Chaoism”). It’s a direction hinted at on The Great Liberation Through Hearing, but here Modder triumphs in fully fleshing it out.

On Destroying Ourselves for a Place in the Sun, Modder succeeds in evoking an assortment of influences while maintaining the band’s distinct identity. From the Korn-fed intro of “Stone Eternal” to the Gojira-glazed grooves of “In the Sun,” the album packs a broad range of sounds into its forty-two minutes. Each one of the album’s six tracks brings unerringly heavy riffs. “Mather” begins with a Prodigy-induced flourish, then drops into a disgustingly dense lurch that shakes the room like a herd of mammoths tromping past. Guitars, bass, and electronics weave an intricate tapestry, with melodies and countermelodies coalescing into grooves thicker than a bowl of oatmeal (“Stone Eternal,” “Mutant Body Double”). The drumming flits and hammers, with actual and programmed drums enabling quick shifts between sludge and breakbeat (“Chaoism”). This five-piece flaunts chops, and they pack them into an easily digestible package.

Even if Modder’s latest is a barrel of fun, its imperfections hold it back from greener pastures. For starters, the mix is distractingly crowded. I suspect the goal was to create a concussive bombshell that rattles listeners to the core. While effective on that front, there are times when the sludgy crunch warps into over-compressed artifacts (“Stone Eternal,” “Mather”). This may be a challenge with the merger of styles, where the electronic elements don’t require the auditory depth needed to express the timbre of acoustic drums or bass. Instead, the music gets rammed through the aural equivalent of Fat Man’s Squeeze, coming out the other side flat and jarring. Another issue with Destroying Ourselves for a Place in the Sun is immediacy. Both sludge and dance emanate a hypnotic sheen onto their styles, whether through towering, droning riffs or persistent electro-throbs. This makes great music for focusing on other tasks, but rarely did I stay engaged for an entire listen. If the goal is to surpass the novelty of instrumental electrosludge, something more is needed. As it is, Modder has strung together fun moments without enough cohesion. If you remove one of the songs or reorder them, the end result doesn’t change substantially, indicating that the whole is no greater than the sum of its parts.

Destroying Ourselves for a Place in the Sun is a study in cross-genre pollination that bears fruit worth sampling, but won’t sustain you for long. I really like the idea of what Modder has concocted, but the album would have benefited from further refinement. A more dynamic mix would immediately boost listenability, and upping their songwriting game could help push their brand of electrosludge past the point of novelty and into territory with more active engagement and longevity. Modder oozes potential, but there’s ultimately not enough on Destroying Ourselves for a Place in the Sun to keep me coming back.

Rating: Mixed
DR: 5 | Format Reviewed: 320 kpbs mp3
Label: Consouling Sounds / Lay Bare Recordings
Websites: Bandcamp | Facebook
Releases Worldwide: October 3rd, 2025

#25 #2025 #BelgiumMetal #ConSoulingSounds #ConsoulingSoundsRecords #DestroyingOurselvesForAPlaceInTheSun #ElectricWizard #ElectronicDanceMusic #ElectronicMetal #Electronica #ElectronicaMetal #Electrosludge #FearFactory #Gojira #InstrumentalMetal #InterArma #Korn #LayBareRecordings #Mastodon #Modder #Oct25 #Prodigy #Psychedelic #Review #Reviews #Sleep #Sludge #SludgeMetal #TheProdigy

Free download codes:

Rafael Vaza - Sodomy

"get nasty!"

https://getmusic.fm/l/o1j7l2

#rock #metal #avantgarde #instrumentalmetal #guitarmusic #guitarinstrumental #music

Free download codes:

Mindless Paradise - Faerie's Aire and Death Waltz

"Instrumental Post-Metal from Ukraine"

https://getmusic.fm/l/mHGAdJ

#instrumental #metal #shoegaze #postrock #dungeonsynth #postmetal #instrumentalmetal #metalgaze #doomgaze #music

#TheMetalDogArticleList
#MetalSucks
Galactic Empire Continue to Branch Out of ‘Star Wars’ with “Pirates Of The Caribbean”

https://www.metalsucks.net/2025/07/30/galactic-empire-continue-to-branch-out-of-star-wars-with-pirates-of-the-caribbean/

#GalacticEmpire #StarWars #PiratesOfTheCaribbean #Cinemetal #InstrumentalMetal #Terminator #Batman #BackToTheFuture #Superman #MetalSucks

#NowPlaying this new one 'A Single Flower' by Sydney, Australia's WE LOST THE SEA as I know @HailsandAles and @wendigo dug it. Took a couple times for me, had to be in the mood - but it's some great instrumental rock/metal, light, airy bits, ambient, psych, and such. Post-metal? I dunno, man. Try it in your ear holes. FFO Pelican maybe.

https://welostthesea.bandcamp.com/album/a-single-flower

#PostMetal #metal #WeLostTheSea #PostRock #2025Albums #2025Records #Sydney #Australia #SydneyBands #AustralianBands #InstrumentalMetal #instrumental #InstrumentalRock #InstrumentalMusic

Hiroe – Wield Review

By Killjoy

Despite the importance that many metal and rock subgenres place on instrumentation, music without vocals often proves a tough nut to crack. Without the inherent structure that generally comes from writing vocal lines or the unique individuality of a human voice, it’s difficult to grab—much less keep—a listener’s attention. Still, that doesn’t stop a multitude of artists from reaching for a slice of the wordless glory. The latest of these is Hiroe, a newcomer post-rock group from Philadelphia, Pennsylvania, releasing their debut full-length Wield (following an EP, Wrought, in 2022). With promotional material describing a diverse, expansive, and epic writing approach, Hiroe is poised to offer a maximalist take on a traditionally minimalist genre.

Wield is indeed diverse, containing many of the various touchstones under the expansive post-rock umbrella. As is typical of instrumental acts, Hiroe principally relies on a three-pronged guitar alliance (Eric Kusanagi, Brian Kong, and Jill Paslier) to construct and embellish the music. On the one hand are serene, luscious melodies designed to ruffle the heartstrings similarly to pg.lost or Caspian. On the other hand are dense post-metal guitar clusters favored by Pelican and Isis. But somewhere in the middle of these two extremes, they reveal progressive inclinations, which is where bassist Jon Seiler and drummer Dan Sagherian shine the most, their knotty rhythms adding depth and complexity.

Hiroe seems indecisive about targeting the heart or the head and misses both. Not completely, of course, and Wield does start off promisingly. “The Calm” opens with a gorgeous, glassy melody that artfully evokes feelings of eagerness as it accumulates layer after layer. But soon these hopes are quite literally crushed by the thick, slow wall of post-metal guitar chords of “Tides.” The wall eventually cracks open and a ringing guitar lead spills forth, but Wield never properly follows through on the lush beauty teed up in the intro track or evokes much of an emotional response from me. Attempts at intellectual stimulation don’t often connect either. “Collider” is the most promising from a technical standpoint, opening with an intricate, swirling guitar melody that dazzles at first but tends to overpower the other instruments as it reoccurs. It rarely feels like the three guitarists and the bassist fully realize the rich, multilayered compositions for which Hiroe is aiming.

However, what most impedes Wield is an imbalance between repetition and progression. Disappointingly, in this regard, Wield is heavily weighted towards the former. There are some genuinely compelling melodies, but they tend to span too many minutes. The record is composed of only six tracks, all of which (save for the intro) are at least seven minutes long, and none warrant their lengthy runtime. To keep things moving along, the more homogeneous songs should have been shortened (“I’ve Been Waiting for You All My Life,” “Dancing at the End of the World”), whereas “Collider” could have been cleanly split into two separate songs. The back half of the album feels particularly listless, the exception being the fuzzy and chunky guitar distortion of “The Crush,” but, again, each passage lingers too long. It may appear unfair or even antithetical to criticize post-rock for repetition, but for a free-form instrumental variation to transcend background music, each individual passage must foster a natural continuity with the next without overstaying its welcome.

Ultimately, Wield proved to be a frustrating experience. I enjoy much of the music during a given moment, but it rarely feels like the constituent elements come together in a satisfying way. Though I can appreciate Hiroe’s attempt to expand the horizons of post-rock and post-metal, this repetitive long-form songwriting strategy is not working for me. Despite the overall tone of this review, I don’t actually dislike Wield, but I’m simply unmoved. That said, die-hard fans of the genre may well find more to enjoy than I did. Each member of Hiroe is a talented musician, and they’ll likely be a force to be reckoned with after maturing as composers.

Rating: 2.0/5.0
DR: 7 | Format Reviewed: 192 kbps mp3
Label: Pelagic Records
Websites: hiroe.bandcamp.com | hiroemusic.com | facebook.com/hiroemusic
Releases Worldwide: June 20th, 2025

#20 #2025 #AmericanMetal #Caspian #Hiroe #InstrumentalMetal #Isis #Jun25 #PelagicRecords #Pelican #pgLost #PostRock #PostMetal #ProgressiveMetal #Review #Reviews #Wield