La #newsletter de septembre est en ligne !

Arrivée de Lizzard #artrock #pelagicrecords, nouveau titre #techno, tournée #ambient et #mathrock... Bonne lecture !

https://eomail5.com/web-version?p=e7e3b7c2-750c-11f0-bbeb-2b7086f24a68&pt=campaign&t=1757772348&s=fdc17bb79e49902cdcd62ef371e2e9abae398f5f8dedd55941aaef694ed78465

LIZZARD #pelagicrecords
#artrock #progressiverock

https://lizzardband.bandcamp.com/

Le trio aux accents groovy de Mastodon et aux refrains accrocheurs sauce Baroness est d'ores et déjà en tournée sur cette fin d'année !

- 14 décembre ⚠️ cherche date !
- 13 décembre ⚠️ cherche date !
- 12 décembre @ Le Pont de Singe, Arras
- 11 decembre @ Dropkick bar, Orléans
- 24 Aout Pelagic Fest w/ Psychonaut, Hypno5e...

#nantes #limoges #progrock #progressivemetal

Today #PelagicFest in #Maastricht
#postrock #postmetal #progressive
#leftfield #heavymusic
#pelagicrecords #pelagic

https://www.holdtight.co/news/2025/3/26/pelagic-fest-2025-announces-full-line-up-including-ihsahn-this-will-destroy-you-god-is-an-astronaut-and-many-more

Glassing // #Glassing //

Circle Down
[album From the Other Side of the Mirror, 2024]

//via // #BrutalPandaRecords #PelagicRecords //

#buzzingroom #music #bandcamp #Glassing #FromTheOtherSideOfTheMirror #CircleDown #CoryBrim #DustinCoffman #ScottOsment

link bandcamp: https://glassing.bandcamp.com/track/circle-down-2

Glassing // #Glassing //

Ritualist
[album From the Other Side of the Mirror, 2024]

//via // #BrutalPandaRecords #PelagicRecords //

#buzzingroom #music #bandcamp #Glassing #FromTheOtherSideOfTheMirror #Ritualist #CoryBrim #DustinCoffman #ScottOsment

link bandcamp: https://glassing.bandcamp.com/track/ritualist-2

Glassing // #Glassing //

Defacer
[album From the Other Side of the Mirror, 2024]

//via // #BrutalPandaRecords #PelagicRecords //

#buzzingroom #music #bandcamp #Glassing #FromTheOtherSideOfTheMirror #Defacer #CoryBrim #DustinCoffman #ScottOsment

link bandcamp: https://glassing.bandcamp.com/track/defacer-2

FERN // #FERN //

Hyperreal
[album Intersubjective, 2022]

//via // #PelagicRecords #FERNMusik //

#buzzingroom #music #youtube #bandcamp #FERN #Hyperreal #Intersubjective #PaulSeidel #MathiasKrebser

link bandcamp: https://fernmusik.bandcamp.com/track/hyperreal-2

link youtube: https://youtu.be/t0GItJIvWPQ

Blessings – Blodsträngen Review

By Owlswald

Originating from the same vibrant scene that has spawned acts ranging from At the Gates to Ace of Base, Gothenburg experimental noise quartet Blessings have been forging their own path within the borders of Sweden’s olde harbor city for thirteen years. Comprised of long-standing veterans of the Swedish scene, Blessings have been worshipping at the altar of turmoil since its 2012 debut, Bittervaten came out waving a Black Flag of loud, Unsanely harsh, in-your-face noise rock. Subsequent years of relentless touring and creative experimentation culminated in the follow-up, Biskopskniven1 which leaned more heavily into rhythmic anchoring, trance-inducing moods, and riffing. With Blodsträngen,2 Blessings is poised to take listeners on an intense, genre-bending journey, venturing into increasingly experimental and unconventional sonic territory.

Blodsträngen blends the grit of punk, the expansiveness of post-rock, and hardcore’s raw aggression into an intensely juxtaposed sound that is dark, abrasive, and dramatic. Guitarist Johan G Winther lays down chunky Mastodon-style motifs (“Copper + Dirt,” “Raised on Graves”), shoegaze melodies (“No Good Things,” “Strings of Red”) and bursts of dissonant chords (“Clean”). Mattias Rasmusson’s booming rock grooves drive moments of Old Man Gloom-like explosiveness, while Erik Skytt’s percussive accents and expressive modular tones—featuring everything from organs, cowbells, and woodblocks to a xylophone—strategically guide listeners through Blodsträngen. Fredrik Karlsson’s powerful voice commands excellent projection, especially during Blodsträngen’s darker verses, alternating between spoken-sung punk vocals reminiscent of The Jesus Lizard or early Killing Joke (“No Good Things,” “Clean”) and throaty, abrasive howls (“Allt Vi Kan Ge Är Upp,” “Strings of Red”). Overall, Blodsträngen sounds massive and confrontational, the instrumentation hitting well above its weight, piercing a bright master that belies its DR score.

Blodsträngen is best experienced as an immersive, uninterrupted ride. Its seven tracks flow seamlessly, shifting moods and textures while progressively intensifying. The record immediately kicks off with its strongest material, showcasing Blessings’ dynamic songwriting and unique sound. “Raised on Graves” quickly establishes its edgy, ominous feel, creating foreboding through Winther’s haunting notes, Karlsson’s growling bass, and Skytt’s tribal accents. Eschewing a predictable crescendo, it cleverly loops back to another verse before diving headfirst into full-blown punk with an insistent tambourine. An isolated cowbell punctuates the track, serving as a stark prelude to “Strings of Red,” which explodes into a hardcore frenzy after spells of tense breaths. Skytt’s suspenseful synth leads and Winther’s aggressive riffing drive the song, which serves as a definitive statement of Blessings’ ability to produce hard-hitting material with intriguing textural elements, despite its meandering finish. Rounding out the album’s robust first third is the ambitious and lengthy “Clean,” one of Blodsträngen’s longest tracks. Highlighted by what might be one of the gnarliest bass tones I’ve heard in ages, Karlsson’s hefty bass line and somber vocal delivery channels a Filter-esque vibe before a devastating breakdown tears through the mix. The song works beautifully once it gains momentum, though its dragging intro and overlong build partially weigh it down.

Blodsträngen starts with incredible momentum and promise, making Blessings’ subsequent struggles to maintain its energy all the more disappointing. While “Allt Vi Kan Ge Är Upp” injects much-needed vigor back into Blodsträngen with its dominant rhythms and exhilarating crescendo, “No Good Things” marks a noticeable dip in energy. The track lacks the compositional ambition of the album’s earlier material, consequently feeling plain as it relies too much on Skytt’s quirky samples and Karlsson’s vocals. “Copper + Dirt” is a short burst of aggressive, riff-driven material that abruptly ends after less than two minutes, a confusing result that feels wholly out of place. Finally, the terrific, harmonized melodies from Winther and Skytt within the first half of “Through Veils of Glass and Silica” suffer, unfortunately, from its excessive length and meandering post-rock sections, which leave Blodsträngen ending on a drawn-out note.

Blessings is a good band, but Blodsträngen is a front-loaded album that left me wishing these Swedes had maintained their peak energy for the entire forty-one minutes. When they’re firing on all cylinders, Blessings crafts unique, powerful, and atmospherically heavy music. Their future success hinges on maintaining their intensity and sharpening their songwriting, steering clear of unnecessary repetition or padding. A great album is potentially waiting in the wings, and Blessings certainly has the talent to deliver. The question is, will they?

Rating: Mixed
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Pelagic Records
Websites: blessingsgbg.bandcamp.com | facebook.com/Blessingsgbg
Releases Worldwide: August 1st, 2025

#25 #2025 #Aug25 #BlackFlag #Blessings #Blodsträngen #ExperimentalMetal #Filter #KillingJoke #Mastodon #Noise #NoiseRock #OldManGloom #PelagicRecords #PostRock #postPunk #Review #Reviews #SwedishMetal #TheJesusLizard #Unsane

#TheMetalDogArticleList
#Blabbermouth
The Radiant Veil

https://blabbermouth.net/reviews/the-radiant-veil

#Hemelbestormer #TheRadiantVeil #PelagicRecords #PostMetal #BelgianMetal #Neurosis #Isis #BlackMetal #PostRock #Shoegaze

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