Frank Booth – Constructs EP – 83%

Constructs cover art

Frank Booth is a 4 piece band from Grand Rapids, Michigan who describe their sound as Post-rock meets shoegaze. The band features ex members of Lights at Sea and Paucity, two other post-rock bands from the Grand Rapids area. With little information on their facebook page, I took to their twitter to find out more about the mysterious band. From there I unearthed that the band has plans for both an EP and a full length album next year and intends to do some touring. Not a bad start.

Even though the band mentions shoegaze in their description the EP is pretty barren of any traces of the genre. There are no vocals to be found on this short 3-track 15 minute EP and their work comes off as thickly distorted post-rock rather than shoegaze. I guess one could make the connection to the shoegaze realm by the band’s use of thickly distorted undertones and layering to bolster their sound. ‘Constructs‘ opens with “Blackout” which kicks off with breakneck drumming and a high-pitched guitar circling out control. My particular favorite moment of this track is the incorporation of ear-piercing guitar screeches towards the end of the track.

Macena” has a much more refined sound and  begins with clean guitar work in the left channel and distorted wailing in the right channel and an ultra thick layer of bass in the middle head space as drums keep a rhythmic beat. As the track progresses the two sides shift just before giving way to a quieter moment on the song, or a moment of clarity if you will. Drums push the pace as the track gears up for a big post-rock finale and guitars rev up one final time for the big push. A well executed and tight sounding track.

The EP comes to a close with “How to Breathe Fire”, which occupies nearly half the EP’s length at around seven and a half minutes long. In this track spiraling crescendo guitars come and go as the layering underneath plays a mellow tune. As expected distorted guitars appear about a minute into the track but at a much more relaxed level and pace that spans throughout the entire track. This is by far the band’s best work and shows their musical range and serves as a proving point that the band doesn’t need to rely on heavy distortion as a crutch. Bass is extremely prevalent and plays a big part in Frank Booth’s sound throughout the EP and is never lost in the mix. This can most likely be attributed to the fact that the guitars and drums were recorded live.

In so many ways this album feels a lot like X Suns self titled release they put out earlier this year which also employs the philosophies of heavy distortion meets creative, explorative and spacey guitar work. Sonically the tones on the EP are great but as with any self release the equalization is missing that fine level of engineering polish that we’ve been spoiled on by the likes of genre giants Russian Circles and Explosions in the Sky. Still, the EP holds its own and is a great starting point for a new band whose members have a proven history of musical prowess and moderate success in the post-rock genre. 10-26-12

Pay what you want on bandcamp:

Late Night Venture – Pioneers of Space Flight – 83%

Pioneers of Spaceflight cover art

Late Night Venture are a 5-piece band from Copenhagen, Denmark who include elements of alternative, shoegaze and space-age psychedelic vibes to their style of post-rock. While relatively unknown state side, they are well accomplished in Europe and have over 150 live shows under their belt, sharing the stage with the likes of This Will Destroy You and Caspian. Their story begins in 2006 with the release of their self titled debut album in 2006, which received rave reviews and led to distribution across the UK and into Japan. From there the band made a fairly big leap into the post-rock genre with their 2009 EP “Illuminations“.

Now they’re back and ready to make a name for themselves worldwide with ‘Pioneers of Spaceflight’, a huge 10 track 57 minute post-rock goliath. I’ll stop right there for now and cut to the verdict on the vocals the band brings to the table because as most of the readers of this site know by now I am perhaps the biggest critic of post-rock that features vocals. Late Night Venture‘s vocal tracks fall generally fall somewhere between the shoegaze offerings of Silversun Pickups and the much lighter stylings of Gregor Samsa. Some vocal songs on the album, such as “The Empty Forest” definitely stand head and shoulders above others, such as “Hours” which features whispery vocals that really don’t do anything for me but detract from the big psychedelic infused post-rock finish of the track. I think that the most important factor here is that the band does a fantastic job balancing between their post-rock and indie/shoegaze sides and as an end result has produced a well-rounded album that will please everyone.

Without question Late Night Venture‘s post-rock side is where the band truly begins to open up. From the heavily distorted opening moments of the albums opener of “Kaleidoscopes” to the lighter ambiance of “Glitterpony“, the band shows an extraordinary amount of range and prove themselves gifted musicians. “Peripherals” is perhaps a perfect showcase of the band’s true abilities, opening with the ambient sounds of children playing in a school yard while soft keyboards play a soothing number. Relaxed guitar work comes in elegantly, complimenting the keyboards well and drumming is nothing more than a mellow beat until a spiraling guitar lulls its way into the back end of the mix. The track slowly gains a head of steam in an uplifting manner until it peaks at which point heavily layered distortion guitars increase the decibel level substantially while still maintaining the track’s mellow and unrushed pace for the most part. This is generally a winning formula in the realm of post-rock and Late Night Venture certainly understands that.

The band does an excellent job switching things and up and while most tracks eventually delve into deeply textured heavily distorted guitars, the lighter sides are highly varied. Some influences from other bands can easily be heard through the album.“Birmingham”  opens with a very twinkly Explosions in the Sky feel to it and “Carisma” closes out the album with heavy distortion and spiraling crescendo guitars eerily reminiscent of the likes of Mono and God is an Astronaut. Sonically the album is as rock solid as it gets and is a great example of solid layering depth and sound staging. Of course I’d expect nothing less than excellent given that it was produced by the well accomplished Magnus Lindberg (Cult of Luna) after all. Lindberg’s previous contribution to the post-rock world was his work on PG.Lost‘s last album ‘Key‘ which saw release earlier this year and was equally as amazing.

‘Pioneers of Spaceflight’ is one of those boundary crossing albums that can only do good for both post-rock and shoegaze fans alike. While some post-rockers might be turned off by the vocals, which will attract the shoegaze crowd, the majority of the album is excellent instrumental work that is the perfect soundtrack to drift off to the edge of your imagination to. This album is well worth every minute of your time. 10-25-12
Available for about $13 on Bandcamp:

Band website:

Australasia – Sin4tr4 EP – 90%

Sin4tr4 cover art

Over the course of my life I’ve been fortunate enough to journey through many different genres of music. As a teenager I found nu-metal just like everyone else did around 1998. From there I slowly moved onto the heavier styling of Melodic death, which led me down the dark path of death, doom and black metal. About this time I also discovered post-metal bands like Isis, followed by Pelican and Jesu. As my love for these bands grew and my tastes matured while I aged into my adult years, I began to drift away from death metal mostly due to my increased dislike of harsh vocals. As a younger man, the violently loud vocals were a beautiful thing. As an adult I realized that anger without purpose is petty and pointless and found much of the death metal I previously enjoyed lacking in emotion. Still there are times when I want nothing more than a double bass pedal and the sick riffage of a down-tuned guitar to blast through my headphones and invade my ear canals.

That is how we arrive at Australasia. The one particular thing that truly captures 100% of my attention these days are bands that are able to take uncommon or unlikely combinations of genres and make something truly beautiful with them. Well Australasia has done just that with their latest release ‘Sin4tr4‘, a 7-track 22 minute musical odyssey that combines ambient post-rock with harsh blast beats and melodic death metal. While there are elements that are definitely post-metal to be found here as well, the band has no problem stepping up a notch above that by pealing back the more textured heaviness to create a more straight forward melodic death sound. This is most evident in the intro track “Antenna“, which opens with about a minute of ambient post-rock until the double bass and down-tuned post-metal guitars come sweeping in. That is until something beautiful happens. The  guitars blossom into fullscale melodic death metal mode with absolute mind-bending riffs. This transformation is truly a beauty to behold.

Spine” follows the same formula and has an absolutely captivating ending where synths cascade down through powerful  guitars as the track comes to a close in a very electronic fashion. “Apnea” is next and is a stark departure from what we’ve seen so far on the album. In this ambient and spacious track that features electronic beats rather than drums, beautiful female harmonizing vocals completely change the mood. “Scenario” manages to do a good job transitioning the album back to the blast beats and post-metal before ending in an italian language sample. “Satellite” is a mind expanding ambient track that really wanders amongst the stars and shows that the band is more than capable of producing softer post-rock without their signature heavy side.

A curve ball is thrown in the mix with “Retina” which opens with these gawdy funeral parlor like organs and synthesizers. To be perfectly honest the intro to this song really caught me off guard  and rather than enjoying it I just keep pondering what it’s purpose is. luckily however the track eventually delves into the heavier side of the band and perhaps features their best work yet as guitars are on point and drumming is as technical as it is brutal. The EP comes to a close with “Fragile“, which slowly builds up by adding piece by piece to the mix as what I think are cars pass by in the background but I can’t be certain. This track is as straight forward post-rock as it gets and you can definitely tell there is a strong european vibe to it, particularly during the ending.

While I highly enjoy this EP there are a few nuances to be found that detract from the experience. At first listen the range in different sounds found on the EP will make it feel as though it’s more a collection of songs rather than a fluid and well-planned EP. This feeling vanishes after a few listens but I feel it’s still relevant to mention. Secondly, while I know it’s an EP, some of the tracks feel far too rushed and the fact that they managed to cram 7 songs into 22 minutes is still something that boggles my mind. Lastly, the intro to “Retina” is far too out there and just comes off feeling out-of-place.

To be perfectly blunt, I have yet to hear a single band that sounds remotely like Australasia and their debut EP has managed to capture my attention and has garnered a ridiculous amounts of plays in the week or so that I’ve had it. For uniqueness and creativity the band deserves an A+. For this EP however, it’s not the best I’ve heard this year, but it’s awfully close. An extremely solid debut from perhaps the next big Italian band. 10-24-12
Free streaming via bandcamp:

Album available for purchase via Itunes or amazon MP3:

Band website:

All shall be well (aasbwalmotsbw) – ROODBLAUW – 79%

ROODBLAUW cover art

Written by Jerome Marshall

All shall be well (and all shall be well and all manner of things shall be well) aren’t overwhelmingly concerned with sweeping you off your feet. Much like their name implies, they’re more interested in soothing you.

Spanning five songs and 40.8 minutes, ‘ROODBLAUW’, All shall be well’s debut EP, is a thoroughly enjoyable cohesive piece of minimalist post-rock. And man, is it minimalist. After listening to the entire EP three or four times, the only word my brain wanted to use to describe ‘ROODBLAUW’ was “deliberate” and I think that’s exactly what the band wants. Each song is carefully crafted and delivered at an ambling place, and there aren’t many exceptions to this rule. While listening to ‘ROODBLAUW’ your ear might start to want release and explosive dynamics after so much build up, but All shall be well just won’t give it to you. At least not in the manner you expect.

The first track, “Mothers, Tell Your Daughters Our Music Is All Awful Noise And We’re Just A Bunch of No-Goods” comes in at 7:09 and there isn’t one excess note. It takes nearly three whole minutes of subdued organ chords before the listener gets to hear anything that might pique their interest. Eventually the organ fades away and is replaced with warm, softly reverberated guitar licks gently laid over plodding drums, but the song’s pace doesn’t ever pick up.

“Mothers” tapers off and we’re again treated to classic saccharine post-rock guitar work in the song “There will always be at least a thousand things you don’t know.” The production on ‘ROODBLAUW’ is incredibly tight and leaves all the instrumentation feeling very close, creating an intimate experience for the listener. This track is easily the strongest example in my opinion. “thousand things” flows at a slightly quicker pace than “Mothers” but, much like the majority of this release, still refuses to rock harder than hammock.

By the time you get through the next three songs, you’ll understand that All shall be well are exceptionally good at resisting the temptation to explode into grandeur the way most post-rock bands do. They choose to slowly swell their instruments at such a gradual pace by the time it gets loud you don’t recognize it much. “History Is Ever Ours For The Reliving” showcases All shall be well at their loudest but it still displays control and precision rather than passion.

ROODBLAUW’ is far from perfection. At times the subtle dynamics and torpid song flow grow monotonous to the ear and the band’s refusal to experiment with song styles makes the individual tracks flow into each other a little too well. Quite often I would have to double-check the song title when I was listening because it was difficult to distinguish between the songs. But it’s still a worthwhile listen and a solid effort from a new band. Just don’t expect to be lifted to your feet while experiencing this album.

That in mind, this EP is perfect for calm drives, writing to, and any other relaxed activity, which I don’t think the band would have any problem with me saying.

Pay What You Want:

El Ten Eleven – Transitions – 95%

Transitions (album) cover art

It seems like everyone these days is trying to pigeon hole bands into these obscure genres that just don’t seem to actually exist. People try so hard to explain bands that they use these describing words that don’t make any logical sense. Crust-core? Psych-Drone? Post-Apocalyptic Folk? Do you see what I’m getting at? Why can’t we narrow things down and keep genres relatively simple? Well, there’s a reason, and bands like El Ten Eleven are the ones to blame.

Their new record is ‘Transitions’ and I’ve been flat-out obsessed with this album since getting my grubby hands on a copy. I’ve always appreciated El Ten Eleven’s work but never have I been drawn in by it the way I have with ‘Transitions’. The two-piece california band have truly outdone themselves by making one of the most easily accessible albums of the year. This is without question THE perfect album to spin if you’re trying to introduce post-rock to poor souls who have been stuck on bad radio rock all their lives. While the album carries itself as an upbeat post-rock album with flurries of math-rock and electronica everywhere to be found, it does so in such a obnoxiously and infectiously catchy manner that gives the whole thing a crazy pop aura to it.  El Ten Eleven are one of those rare chameleon bands that transcend genres with ease while still staying within the comfort zone of fans spanning multiple genres.

Clocking in at over 10 minutes, the title track kicks off the album and never has a track been more appropriately named. What begins as a track sounding something like what you would expect to hear during the opening credits of a summer time feel-good teen flick, out of nowhere a math-rock transition bursts through the track as cascading guitars overtake everything else going on. From there we have another well-timed transition where distorted guitars come in for about a minute until cutting out as the track comes full circle and the three different segments of the song blend together in harmony to form a deeply textured groove that you just can’t help but bob your head along with. A brilliantly designed track that showcases the musical prowess and masterminds of El Ten Eleven.

In the next track “Thanks Bill” we’re treated to rich vibrant bass and hypnotic electronic drums that transition into a slower moment of catchy as hell chords and  guitar offerings that will surely get stuck in your head for days to come. “Yellow Bridges” is about as normal as it gets on this album and feels much like an attempt to emulate the japanese math-rock style while keeping a strong core of what makes El Ten Eleven so unique. Fantastic layering makes the song feel deep while still retaining its fun-factor. “No One Died This Time!” is an electronic heavy track that’s full of delay pedal action and looping mixed with signature guitar work occupying the high-end as thick distortion sets a foundation on the lower end of mix. I feel like this track would be absolutely phenomenal to hear live.

“Birth” kicks things off with repetitive clapping and a thick bass distortion layer occupying most of the sound space. I really like this track because the layers really start to build up as though the distortion layer is a magnet continually attracting new sounds. “Tiger Tiger” is intriguing because on side of the spectrum the whole track is completely out there and has this abstract feel really working for it. On the other hand El Ten Eleven  have gone to the depths of their imaginations time and time again on this album and there are really no boundaries they won’t cross. While the track might be a bit strange it certainly fits the album. The album closes with “Lullaby” , a much slower and more ambient adventure that ends in bleak distorted quirkyness. Did you expect any different?

I listen to post-rock for the beauty, depth, trance-like repetitiveness and musical brilliance generally associated with the genre. So when an album like ‘Transitions’ comes along and completely changes the game with tracks that are endlessly fun, catchy and just simply  put a smile on your face enjoyable, I feel the need to place them on a pedestal. Honestly there hasn’t been an album this enjoyable and fun since Pan‘s “These Are The Thing’s I Love and I Want to Share Them With You” . While the album might be a light-hearted approach to post-rock it would be a mistake to not take El Ten Eleven seriously as major players in the genre. ‘Transitions’ is an album that by all means should take the band’s popularity to new heights. It’s too good not to. This is a must listen to album of 2012. 10/21/12

Available for $7 at!music/cqo1

Youth Pictures of Florence Henderson – Small Changes We Hardly Notice EP – 89%

“Don’t throw out your winter clothes; the way our glances froze, it just might snow”

‘Small Changes We Hardly Notice’ is the unassuming new EP from the Norwegian post-rock band Youth Pictures of Florence Henderson. Youth Pictures… started their musical career in 2005 with their debut album, ‘Unnoticeable in a Tiny Town’, that featured epic track durations and spoken-word samples overlayed by expansive soundscapes. With this they accrued a small yet dedicated fan base, to whom the intelligent and forward-thinking music appealed. A lot has changed in the last 7 years however; namely, their style has been stripped back and refined to comprise more concise indie-rock songs, with a heavy focus on lyrics and vocal delivery. This — coupled with the fact that Youth Pictures… chose to sign with popular “emo revival” label Count Your Lucky Stars to release this EP — might have been cause for concern. Fortunately, the band’s experience with crafting dense and atmospheric post-rock has not been relinquished, as every moment in this EP is awash with a sense of delicacy and warmth.

With its combination of soft vocals and shoegaze-inspired aural passages, the closest comparison that could be made with regards to ‘Small Changes We Hardly Notice’ would be with The Appleseed Cast, circa ‘Low Level Owl’. This is the type of music that isn’t instantly astonishing; the band tends to defer away from hook-laden melodies and catchy refrains in favour of a more warm, layered sound. As such, upon my first listen I might have gone so far as to say that this EP is nice, yet forgettable. But I kept coming back to it, and it’s because of the inherent (I’ve said it twice before and I’ll say it once more) warmth that emanates throughout the 23-minute run-time of this EP. Even if it’s not inordinately exciting (there are screamed vocals, however they’re so unobtrusive that you’d be hard-pressed to notice them at first), this release is comforting to the utmost.

Many bands of the post-rock arena aspire to take you somewhere you’ve never been before. Listening to Godspeed You! Black Emperor evokes a feeling of isolation, loss and loneliness. Sigur Ros might break your heart. It’s good to feel like this sometimes; it enables you to connect and resonate emotionally with the music. Listening to Youth Pictures of Florence Henderson maintains a much-needed balance. This is winter music. But it isn’t the kind that places you in a desolate blizzard, or slaps snow in your face and makes you feel alive. ‘Small Changes We Hardly Notice’ instead brings you inside, wraps you in a blanket and sits you in front of the fire. It rests your pulse and puts a smile on your face. It’s cosy, and that’s perfectly fine.

Available for $4 or more at Bandcamp:

Empire of the Sea – Skywatchers EP – 81%

Skywatchers EP cover art

Formed in 2010, Empire of the Sea are a four-piece post-rock band from Wilkes-Barre, Pennsylvania. Their latest release is a 4-track EP called ‘Skywatchers’ that clocks in at around 25 minutes. This EP has a lot going on for it and shows a band experimenting with a wide range of sounds and ideas. I’ve listened to this EP extensively over the last two weeks and as I sit here writing this review, I’m still on the fence about how exactly I feel about it.

The best starting point would be to discuss what I do like about on the EP. I really like the chill atmospheric vibe the album presents through the first two tracks. The album maintains a solid flow even throughout  its spiraling crescendos  build ups in “Mother Hawk” and even through the quick tempo of “Father Owl.” Guitar work is on point throughout the album and is a solid combination of post-rocky distortion textures, power chords and bluesy solo work, which is particularly excellent in “Father Owl.”

These two tracks are good, but Empire of the Sea really start to show their range on the latter two songs on this EP. “Sister Sparrow” brings the tempo down a notch and is a much more ambient track that presents a huge field of sound into a tight package. My favorite moment in this track is when the guitars start to rev up a couple of minutes in. The front guitar layer that roams freely in the higher end of the mix really gives the rest of the distorted layers a strong level of depth and purpose. This track just builds and builds to no end and that’s really one of the bands biggest strengths. The track goes on to make a stark transition and end in a completely different direction than what it built up to.

The first time I heard “Brother Crow”, the EP’s final track, it instantly reminded me of some of the earlier work of The End of the Ocean, particularly their track “We Always Think There Will Be More Time.” Both tracks have this really dreamy after vibe going on for them. This track also has a ridiculously strong build up that should more than satisfy those into the heavier side of the genre.

That being said, this EP suffers from two big flaws that can hamper any release. First, there is the disappointing overuse of cymbals to be found absolutely everywhere on this album. Even during the much quieter, slower build up in the intro to “Sister Sparrow” cymbals crashing completely overshadows the guitar work to the point where the slightly distorted layer is completely covered up and even the main clean layer must fight for its spot in the mix. I’ve never been a fan of bands relying on crashing cymbals just to ratchet up their sound wall and Empire of the Sea is guilty is charged.

Secondly, while the four tracks are technically sound and Empire of the Sea have presented themselves as knowledgeable musicians, the music here lacks defining characteristic to them. I’ve listened to this EP no less than 10 times and to be completely honest I’m not confident I would be able to identify any of the tracks if one of them were to come up if I hit shuffle on my ipod. I think this harkens back to the fact that the band themselves have said their tastes and talents have grown significantly as has their sound. This is something that a lot of younger bands struggle with in their earlier releases.

Still, I think that “Skywatchers” is an excellent starting point for the young band. I have no doubt in my mind that they have all the musical know how to take this band to the next level. Time will tell if they can put all of the pieces of the puzzle together, and I’m guessing that they will.

Available for free on bandcamp:

Té – Therefore, the illusion of density breach, the tottering world “forget” tomorrow – 84%

Té - Therefore, the illusion of density breach, the tottering world “forget” tomorrow
Japan’s penchant for producing bands who bring something fresh to a whole heap of genres never fails to astound me. Four piece,are now in their eighth year and it’s been a busy few years for them. Five albums and countless sold out live gigs shows their work evolving exponentially with each album.

The translated song titles are never simple; eschewing “regular” naming conventions and going the route of Red Sparowes. Poetic, if not a little nonsensical, I’m sure they lose something in their translation.

Te’s fifth doesn’t quite storm out of the blocks, choosing to start with a string orchestra tuning up whilst it descends into the matrix and as soon as you think you’re going to settle in for a quiet ride the album begins proper, exploding and grabbing you by the ears. Intricate tapped style riffing and stop-start drumming drag you inexorably out of the intro into the meat of the song and its the drummer leading the way. He treats the drums as another addition to the wall of sound; the snare rolls never seem to stop, allowing you to lose yourself in them whilst maintaining the sharp punctuation of the high hat. The drumming throughout is excellent but so is the general level of musicianship. The bass is pretty low-key in this first track, allowing the guitarists room to bounce back and forth with ideas, constantly shifting the aural landscape and by the track’s ends you feel like you’re in a different place and this feeling continues throughout the album.

The pace continues to be frenetic until somewhere around the three-quarter mark; the music slowly easing as if the band have expended all of their energy giving you a site seeing tour of their madcap world. Not that this detracts, far from it. Managing to keep a very organic feel to the album, the slowing of pace allows some of the more beautiful moments of the album to emerge and shows that they are more than just an unstoppable juggernaut of jazz fusion riffage. The music that they create towards the end of album feels almost ethereal and introspective, in total contrast to the extroverted stringed and percussive showmanship of the earlier tracks. Production wise, it is superb, utilizing a wall of sound that encompasses every instrument. The guitars and bass intertwine hypnotically but the real star of the show is the drumming. Never ceasing, creating a wall of sound on his own, the drummer is a ball of frenetic energy. I have only heard drumming like this on Mastodon albums!

The biggest surprise for me was the final track. After feeling yourself relaxing with the album’s closing they choose, in esoteric fashion, to finish with what can only be described as grindcore. Lunatic vocals, over a gnashing fuzz of intense, angular guitar work; there is nothing about this track that says post rock. And for me that adds to the albums’s charm but maybe that’s because I lean towards the more metal end of the spectrum. You have been warned. If grind isn’t your thing then you can always opt to skip this track!

As a band they’ve got an attention span shorter than a New York minute and, like a psychedelic episode, the next thing they do is more interesting than what they’re doing at the moment. This album is fearless in its experimentation, resulting in the odd Frankenstein-esque monster, more often resulting in hitherto undiscovered delights and the band uses every trick at its disposal to keep you guessing where they will turn next. Coaxing a whole array of sounds they end up sounding like a love child between the Mars Volta and Tom Morello brought up listening to Boris.

That’s not to say that this is a perfect album. There are a few tracks that outstay their welcome and some ideas which were a bit too left field. Those trimmed out would have this as contender for album of the year.

Available for £11 on Bandcamp:

Post-Rock Roundtable Review : Caspian – Waking Season – 93%

Waking Season cover art

Postrockstar is proud to present the first installment of Post-Rock Roundtable Reviews. In this series several of our writers will offer their take on one of the more popular current post-rock releases.  This week’s album is the much-anticipated “Waking Season” by Caspian!

Drew: Caspian are certainly one of the luminaries of the genre. Their track ‘The Raven’ from second album ‘Tertia‘ restored my faith not only in post-rock but in music all together. Their previous two albums are must-haves, as far as I’m concerned, and ‘Waking Season’ is the best one yet. In feeling it returns to the unease, insomnia and intensity of the first album, brings in a lot of the triumph from the second and discards a lot of the ambient, ethereal moments. That’s not to say that they’re gone all together! The title track, and album opener, start with a piano refrain building slowly but unstoppable for five minutes until it abruptly cuts off and the second track starts. This digital, on-off, vibe keeps your attention, startling at times and bombastic at others. Stand out tracks are  the folk tinged ‘Hickory ’54’, the glitch inspired ‘Halls of the Summer’ and the face-melting album closer (and what a way to close!) ‘Fire Made Flesh‘. Every note here is played with purpose. The show us just what is possible in Post-Rock; taking elements of electronica, math-rock, drone and folk they combine it all with their trademark sound to create one of the albums of the year.” – 96%

Erich –  “I’m new to Caspian and my take on this album is one of awe.  This masterfully recorded treasure is so emotive and beautiful that I’m kicking myself for not getting into the band earlier. From calm to peak, and everywhere in between, there’s a sense of purpose and hope. “Waking Season” has just jumped into my best of 2012 list.  Understated at times, grand and expansive at others, with all the elements that make post-rock great, but nothing cliché,“Waking Season” is a journey that any fan of post-rock, or music in general, will be glad they took. 93%

Bothra – ” I’ve been a fan of Caspian since You Are A Conductor debuted in 2005.  I’ve always thought of them along the same lines of Mogwai, EITS, TWDY, & ASIWYFA as top-tier talent in the ‘third wave.’ I honestly think Waking Season has strengthened my opinion of them as a band.  In this album, we see a band willing to experiment, branch out and doing it well. They bring in vocals (gasp!), electronics, pianos and much more interesting song structure that this style of music has so desperately needed for a long time. Still, to my ears, it is easily identifiable to be a Caspian album even taking that into account.  Fanboys will claim that the best track is Gone in Bloom and Bough, but I feel like it’s one of the weaker offerings.  They should have renamed that one ‘Myself’ because we hear that word around six hundred and seventy-three times.  I feel that really takes away from the excellent instrumental harmonies that are going on and makes me notice how long the track is.  Caspian keeps its tradition of melding separate songs amazingly well, the progression of Halls of the Summer through Hickory ‘54 is almost seamless – reminiscent of their first EP.  I love it when albums are presented as a whole, rather than the sum of individual songs slapped together.  The closing track Fire Made Flesh is my favorite on the album, it exemplifies the sound of the album and finishes it on a high note. The production on this album should be aspired to by all up and coming post-rock bands on bandcamp.  The huge sound really separates the men from the boys. Overall I think this album will end up as one of the staples of this style of music, possibly showing a trend to incorporate more than the standards that permeate lesser bands’ offerings.  I call it a must buy, and the band is a must see live.  94%

JacobMoss–  “Some days life just seems so right. Others pick up where you leave off and it’s just great to feel alive! This is where “Halls of summer” will leave you to feel on Caspian‘s 2012 release ‘Waking season’. But it doesn’t stop there. In fact, that is the first simple highlight that I noticed about the album. The beginning piano and guitar riffs delicately invite a listening experience into this post rock world, like in the song “Hickory ’54”. The album is full of little additives here and there to improve a chill vibe that the sound of the album brings you. It’s more than something that you can just tell your friends about. One of those things you just have to experience to understand. The sound is actually more a positive feedback from the adventure you began and concluded long ago. It is very reminiscent and intact to have the feel of the climax of a story well told. With the semblances keeping you enjoying it to the extreme of being on the edge of your seat, waiting in curiosity for what comes next. As far as a score would go I would give the album an 86 percentile. The sound was good and imaginative, but I would have liked to see more change ups throughout the entire album. Not that they didn’t include change ups within every song.. I would have just for the sake of producing taken a leap and made the changes in every song more abstract. It would do justice in the very essence of completion, and even pronounce the album that much more. – 86%

Shooter “‘Waking Season’ is Caspian‘s first album since 2009’s ‘Tertia‘ and it also marks the first time that a studio recording has truly captured the potency of this group’s brand of guitar-based post-rock. Caspian‘s music has always been triumphant and enveloping, but with the poor production quality of their previous albums, one had to see the band live to properly experience their ever-present potential. Not anymore. ‘Waking Season’ is Caspian fully realized; a celebration of what can be achieved when four guitars are in synchronous conversation, and we’re just lucky enough to be able to overhear it. The sounds are majestic, and the climbs and falls as organic as ever. ‘Waking Season’ isn’t unique (it’s post-rock, through and through), but what it is, is a near-perfect encapsulation of everything that the genre has been aspiring to for the past decade. The best in post-rock since Mono‘s ‘Hymn to the Immortal Wind?’ Quite possibly.” – 92%

Bryan  “Caspian’s newest is a concoction that every fan of post-rock should listen to. Instead of hiding in the ease of slow build-ups and epic breakdowns, Caspian evolves into more substantial realms. The opening track ushers away the old ideas of post-rock progression with a quite abrupt halt and moves into an album that combines elements of post-rock, ambiance, and even a touch of drone. The drums are pronounced; the riffs flow, and the vocals (you read that right) are used not as a headline, but as an additional instrument. Gone In Bloom and Bough will most likely be pointed to as the album’s defining song with its ambient textures and absorbing rhythm. Don’t miss this album, it is one of the best you’ll hear this year.” 95%

IamHop – At this point I’m not sure what I can tell you that hasn’t already been said about Caspian. Their last release, ‘Tertia‘ produced a plethora of strikingly similar sounding albums from bands desperately seeking musical influence. It really comes as no surprise to me that Caspian opted for a much different direction with ‘Waking Season.’  That’s simply what great and innovative bands do. They don’t follow trends or play it safe. They branch out of the comfort zone and experiment in an attempt to constantly evolve. This is the next big evolution in the sound of the well oiled post-rock machine. ‘Waking Season’ is the culmination of a band that’s been on the cusp of excellence for a long, long time taking that final step to the mountain top. In so many ways I struggle for the right words to explain the sounds of songs like “Porcellous” and “Halls of the Summer.” because this is the type of music that is better experienced than explained. This is perhaps the best hour of post-rock that has ever been engineered inside the studio. There are no technical faults to be found. With some of the richest, deepest distortion and layering I’ve ever heard, an increased presence in electronic and glitchy elements and an album overflowing with colorful and full of life tones, ‘Waking Season’ is truly an unforgettable album that will continue to get better with age. The foundation has been broken and Caspian is yet again at the helm of another revolution. A must listen to album of 2012.  96%

Final Score: 93%

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On the next Post-Rock Roundtable:  Godspeed You! Black Emperor – ‘Allelujah! Don’t Bend! Ascend!

Hammock – Departure Songs – 94%

Departure Songs cover art

(IamHop note : Please welcome Bryan to the Postrockstar family! Bryan is 26, from Pennsylvania and is working towards a bachelors degree in writing and a minor in literature. His favorite bands include GY!BE, Hammock, Mono and Stars of a Lid. This is his debut review)


Hammock is known for their ability to create minimalistic ambient landscapes. There music draws you in in with spacey dreamlike progressions that often just fizzle out leaving you spellbound. They don’t often rise to the crescendos of the post-rock stereotype. Instead, Hammock lives in that strange realm called ambient music.

With their 5th album and first double album, Departure Songs, Hammock delivers what every fan expected: beautiful rolling ambiance with the occasional peaks and valleys that manipulate emotion and make you feel like your floating around Venus. The album is straightforward Hammock, but they delve into some new territory this time out.

Perhaps the most daring songs on this album are (Tonight) We Burn Like Stars That Never Die and (Let’s Kiss) While All The Stars Are Falling Down. The intro of (Tonight) sounds like something you could easily mistake as being off an M83 album—an electronic buzz that pounds its way to an 80s synth riff. Then something a little shocking happens; Someone starts singing. And not just random noises but lyrics. Of course the music masks the lyric with that sense of ambiance that makes a lazy reviewer want to start throwing the word ethereal around. (Let’s Kiss) follows this same pattern, but the riff almost overpowers the ambiance and the lyricist seems to enjoy hollering out muddled lyrics. Both songs are very different and take risks that manage to work. Instead of interrupting the ambiance of the album, these tracks punctuate what could otherwise devolve into a repetition of synthesizers and electronics.

This double album never ceases to satiate the ambient monkey. Frailty (for the Dearly Departed) is perhaps one of Hammock’s best songs to date.  They enlisted the talent of The Love Sponge Springs to add some heartbreaking violin and viola. The song sounds like a truly depressing slow motion reel of a film. Seriously, listen to it and that analogy will make sense. What may surprise some listeners is the much more prevalent use of vocals, the incorporation of a variety of instruments, and a seemingly faster paced tempo to some of the songs.

What Hammock has done with this double album is stretch their limits…just a bit. If one of the tracks takes a risk, there are plenty that will take you to classic sounding Hammock. The risks they take are well executed and show a slow evolution taking place. For the diehard fan, this album offers classic Hammock with a few new twists that may ruffle feathers. For the newcomer, strap in, put on your helmet, and go to space.

Available for $12 on bandcamp: