Roundtable Review – And So I Watch You From Afar – All Hail Bright Futures

Artist And So I Watch You From Afar
Album ‘All Hail Bright Futures’
Genre Post-Rock / Math-Rock
Buy/DL bandcamp
Web Facebook | Sargent House
Label Sargent House
Release Mar 19 2013
Rating Excellent

After a short hiatus, we’re back with yet another roundtable review. This time around  Shane, Shooter and myself (Iamhop) are taking a look at the much anticipated ‘All Hail Bright Futures’ by And So I Watch You From Afar, the band’s third full length.

Shane: Everyone’s favorite creepily named Irishmen are back with a new album, and oh, it’s a great one. They continue to defy easy genre classification, by just providing awesome, infectious, instrumental jams. They don’t have the crescendos, the build-ups, or any of the “cinematic” stuff, they don’t really have the math rock angle going on, they just play what they love, and it comes out awesome. I mean, they use a steel drum for crying out loud. Who else has the balls to do that?

They do slow things down a bit here and there, like on “The Stay Golden Pt. 3 (Trails…)”, and the following track, “Mend And Make Safe”. While the former is a short little mellow track, the latter is a little less bouncy version of classic ASIWYFA, which reminds me a bit of The Dismemberment Plan (in a very, very good way).

In an album so full of highlights (the chant on “Ambulance” is pretty damn awesome, for example), it’s hard to really find anything “wrong” with this album. If I had one bone to pick, I’m not that into the first 3 minutes or so of “Ka Ba Ta Bo Da Ka“, but the track finishes strong. The final track, “Young Brave Minds”, is probably the stand out track to me, which is a difficult thing to say given how great everything else on the album is.

Every time ASIWYFA puts out a new album, I wonder how they’re going to top it. Well, they’ve topped ‘Gangs‘ here, in my opinion, and of course, now I’m wondering how they’re going to top this. Excellent.


IamHop:  And So I Watch You From Afar is one of those bands you really need to see live to truly appreciate the energy that flows through the band’s barrage of musical insanity . While technically sound, the band really does thrive off the unrelenting energy they bring forth into creating a chaotic and rambunctiously fun sound. When I saw them open for Russian Circles last summer, I expected a solid show. What I didn’t expect was for them to completely tear the house down and take all the air out of the room in the process. At the end of the night, people were talking about ASIWYFA, not Russian Circles. I have to hand it to them for their ability to create highly catchy mathy post-rock that never settles  falls into grooves and is constantly out to surprise the listener. You truly never know what to expect when you listen to one of their albums.

Which leads us to their latest effort ‘All Hail Bright Futures’, released earlier this month. The album picks up right where their 2011 album “Gangs” left off. Everything you’ve come to expect from the band is present and there are no real surprises to be found throughout the album’s 12 tracks. “Big Thinks Do  Remarkable” is a fantastic jam that kicks things off and never quits as it pushes forward. It’s just too hard not to chant along the track. “The Stay Golden” blends crazy electronic elements with more chanting and guitar work that simply flows on all levels. “Young Brave Minds” is the only song over 5 minutes to be found on the album and is there to reassure us that all the members of ASIWYFA haven’t developed ADHD and suddenly lack the attention span to create a great song longer than 3 minutes. While it is the best song on the album, the shorter tracks are really what sells the whole thing to me. Obviously this is an album that flows brilliantly without a dull moment to ever be found.

In comparison to their previous two releases, ‘All Hail Bright Futures’ is a much more solid album from  front to back. While their other two albums are home to some truly epic tracks that are must listen to post-rock essentials, their biggest fault is that both tended to taper off in energy and had trouble maintaining my interest after the initial rush of musical intensity the first few tracks brought to the table began to die down. That problem is nowhere to be found on this album and is a highly enjoyable experience from front to back. Mark this one down as “Excellent” in my book.


Shooter: And So I Watch You from Afar channel Battles in their latest bid to become recognized as the most fun not-quite-post-rock band in the post-rock circuit today. ‘All Hail Bright Futures’ focuses this band’s pop sensibilities into one hard-and-fast ride, such that it’s incredibly difficult to not be excited by the infectious hooks that seep from the get-go. The riffs are quick and packed with energy as you’d expect, yet there’s also a sense of patience that was at times missing in previous albums. No longer do songs hurriedly shift from riff to riff — each melody is allowed to repeat for long enough for the hooks to really attach. The now-prominent use of vocals aids in making each motif more memorable, yet it also lends a somewhat cute and fun edge to the music. And So I Watch You from Afar have always stated their case that post-rock can be a blast, but it’s never been more convincing than it is here. ‘All Hail Bright Futures’ is like a dream pop album on a sugar-high. Aggressive metal elements that were once a distraction are now left by the wayside in the aid of a cohesive pop sound. I feel like this band has finally found its identity. Excellent

Huldra – Monuments, Monoliths

Monuments, Monoliths cover art

Artist Huldra
Album Monuments, Monoliths
Genre Post-Metal
Buy/DL Bandcamp
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Label Independent
Release 12 January 2013
Rating Very Good

While I’m not really the biggest fan of the deep, growling vocals, Huldra have enough going on to make it work well, and for me to really enjoy it. That said, being greeted by those vocals alone can be a bit of a shock, but it certainly pays off. The debut full-length (the band previously released the ‘Signals From the Void‘ EP, and a split with fellow Utah band Dustbloom) by this Salt Lake City quintet is heavy on the sludge, and heavy on the Isis influence. There’s no rip-off here, by any means, though – Huldra brings enough of their own immense songwriting talent to make things truly unique. In addition to all of the post-rock/sludge/whatever influences, there’s a bit of psychedelia that creeps in here and there, mostly through some of the bass lines, which creates a wonderfully eerie mood.

The phrase “roller coaster ride” is used a lot to describe post-* albums, and in this case, it’s especially fitting. The opening track, “Monuments“, is a relentless assault (albeit with some underlying melodic guitar riffs) that runs it’s course before diving straight into the much more subdued and melodic “Twisted Tongues and Gnarled Roots“. This is where some of the first instances of the previously mentioned bass lines can first be noticed, and they have sort of a Tool feel to them. The song ascends to a truly beautiful ending, with frantic guitars and driving drums leading the way for the last 2 minutes.

Noctua” acts as a somewhat calm, breather moment, before Huldra launches into the epic 12 minute “Ursidae“. The track builds and builds over the course of the first 8 minutes or so before really kicking into its full strength, and it’s magnificent when it does. It’s one of the top moments on the album to me, and really shows how talented these guys are. The follow up, “Thousands of Eyes“, wastes no time getting right into the heaviness. Sludgy riffs, pounding drums, and fierce vocals greet you almost immediately. The aural assault wanes after about a minute and a half, leading to some clean vocals and melodic guitar work, before picking right back up. Admittedly, I’m not much of a fan of the clean vocals here, they fit the mood and tone, but… I just don’t think they’re very good. The rest of the track is really remarkable, though, so it’s just a minor setback.

Another transitional, ambient track, “Damnatio ad Bestias“, follows, further showcasing Huldra‘s understanding of setting a mood, and their great ability to do so. These interludes, as it were, give the album sort of a living feel to it, as though you can feel it truly rising and falling. “As Above, So Below” is one of the most instrument heavy songs on the album, with the vocals not kicking in until near the end. The brief burst of energy and vocals gives way again to a slower, melodic pace that rounds out the song.

My absolute favorite track on the album is up next, “Is This The End? This Is The End”. Even the initial riff lets you know that you’re in for a hell of a ride, and once everything else kicks in shortly thereafter, things get really good. To me, this is a near perfect sludge/post-metal song. The builds and breaks, the melody and mayhem, it all works together so well here. There’s one reeeeally weird element to the intro, but I don’t want to give it away. I want to see if anyone notices and agrees with me.

I may be in the minority here, but “Monoliths” is an incredibly beautiful track. Not only musically, but the inclusion of what sounds like a theremin perhaps, which creates noises that sound remarkably like whale songs is absolutely gorgeous. Overall, the track just has a haunting, beautiful feel to it, and despite being the most “experimental” track, it really is one that I can listen to over and over.

One final “breather” (“Auctoritas Non Veritas Facit Legem“) leads into the nearly 13 minute “The City in the Sky“, which provides Huldra with another opportunity to really explore their talents. The shorter songs on the album are good, of course, but I feel like the longer ones are where they truly shine. The interesting part of that is that the “shorter” songs still typically approach the 10 minute mark. There’s something about throwing in another two or three minutes that really makes the “long” songs stand out to me, but it may very well be that I just enjoy long, flowing songs.

All in all, it’s a really great album, with only a few minor flaws to me. Huldra are a fairly young band, in terms of how long they’ve been releasing music, so I’m very excited to see where they go from here.

Light Bearer – Silver Tongue

Silver Tongue cover art

Artist Light Bearer
Album ‘Silver Tongue’
Genre Post-Metal
Buy/DL bandcamp
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Label Halo of Flies/Alerta Antifascista/Moment of Collapse
Release Feb 8 2013
Rating Must Listen

For those who haven’t heard, or heard of, Light Bearer before, the London based sextet may prove difficult to pin a genre name on. Post-rock? Yep. Progressive metal? Yep. Drone? Yep. Post-hardcore? Yep. I think you get the point. The entirety of the band’s output is based around a story written by their vocalist, Alex CF (previously of Fall of Efrafa, currently also handling vocal duties for Momentum and Eleleth), which was influenced by Philip Pullman’s His Dark Materials trilogy, Milton’s Paradise Lost, and the Book of Genesis, amongst others. Hardly a stranger to singing/writing for a band with a literary focus (Fall of Efrafa’s discography was based around ideologies from Watership Down), Alex turns his focus here to the casting out of Lucifer from heaven, the story of Adam and Eve (Eve, of course, being representative of free will), the establishment of the church, and finally the war against God. Where ‘Lapsus‘ told the tale of Lucifer’s casting out from heaven after refusing to bow to humanity, ‘Silver Tongue‘ picks up with Lucifer rising from the void, atop the tower of Dis, to spread the message of truth and free will. Acting as the light bearer, he passes the metaphorical truth to Eve, herself an ancestor of humanity. The lyrics and storytelling here are absolutely top notch, and to me are a major part of what sets Light Bearer apart from other bands treading similar waters musically.

It’s rather difficult to fully describe an album with this much depth and intelligence, especially without relying on all of the cliches that could be so easily applied – epic, beautiful, haunting, crushing, etc. This album is all of that, and then some. The album opener, “Beautiful Is This Burden“, rolls along peacefully for the first 5 minutes or so as a string and horn laden intro, before the guitar, drums, and vocals kick in, bringing an extra depth and beauty. There are so many layers and sounds here, that now, upon my 6th or 7th listen, I’m still discovering little things in the background. Lee, the member responsible for the soundscapes, has really done a phenomenal job on this album, and it becomes immediately apparent here (especially if you listen through a quality pair of headphones).

The journey continues with “Amalgam“, a much darker and heavier track than it’s predecessor. Here is where some of Light Bearer‘s sludgier elements really shine, the hammering guitar riffs crashing headfirst into some of the more melodic picking. The darkness carries through to “Matriarch“, with it’s mournful cello arrangement, and the whispered echoes of the clean vocals. It’s a darkly beautiful moment, and fits the theme of the record (especially this song) very well. The song ascends as it tells the story of the first Eve, as she begins to fathom free will, and gain an understanding of the world around her. “Clarus” follows up with an almost hymnal, choir-like quality, and acts as something of an interlude. The shortest song on the album, it consists entirely of swirling background sounds and haunting clean vocals (see, there’s one of those cliches).

The mythology of Eve accepting the forbidden fruit is told in “Aggressor and Usurper“, and the confrontational tone of the song meshes nicely with the story, and the building hostility between God and Lucifer. This track, lyrically, also see Light Bearer working in an aggressive anti-sexist stance, one which truthfully is carried through the hole album, it just becomes much more evident here. A three minute piano interlude in the song leads to one of the most explosive moments on the album, as the hostility comes to a head and the Authority begins to show his anger.

Oddly, the intro to the final track, “Silver Tongue“, sounds nearly like a radio friendly song of sorts, with its gentle, melodic strumming, and background tambourine. This carries through for about 2 minutes, before the full strength of the song comes rushing forward. Quite possibly my favorite track on the album, this nearly 20 minute opus wraps up the album very nicely. It’s sometimes difficult to fathom the idea of something heavy being ambient and beautiful as well, but this song is just that.

‘Silver Tongue’, as an album, is not something that is easily digested (nor are any other Light Bearer recordings, really). To me, that makes the mark of a truly great album. It’s not something that’s just going to be blurred background music – it demands your attention, and rewards you greatly for focusing on it. I know it seems especially odd to be focusing so much on the lyrical content of an album on a post-* blog, but as I said, the story is really a very vital part of what makes Light Bearer such a powerful band. That’s not to say that the music is a secondary force by any means, but especially in the flood of fantastic post-metal releases we’ve seen over the past few months, the ability to tell a cohesive, flowing story with great effect absolutely sets Light Bearer apart from their peers. Conveniently, all lyrics (and explanations) are available on the band’s website.

For any fans of atmospheric post-metal, this is an absolute must listen. It’s pay what you wish on their bandcamp page (with physical releases on vinyl, CD, cassette, and a “special edition” to follow), so what have you got to lose? – Shanexedge

Long Distance Calling – The Flood Inside

Artist Long Distance Calling
Album The Flood Inside
Genre Post-Rock
Web Facebook
Label Superball
Release 4 March 2013
Rating Average

The German five piece Long Distance Calling return with their follow up to 2011’s ‘Long Distance Calling‘, and a few things have changed – Out is founding member Reimut von Bonn, and in is a new keyboardist/vocalist, Marsen Fischer. The band has worked a bit with guest vocalists before (John Bush of Armored Saint & Anthrax, and Jonas Renske of Katatonia for example), but Fischer is a permanent addition, though his vocals are not found on every track. Another move from a band that is always evolving, it seems.

The lead off track on the album, “Nucleus“, shows perfectly how Long Distance Calling refuses to fit into a tidy little post-rock label. Everything is moving along at the sort of pace most post-rock listeners are used to – build-ups, melody, atmosphere – when out of nowhere at about the 4 minute mark, a solid 2+ minutes of blues guitar riffing, courtesy of Henrik Freischlader. It works very well with the rest of the song, even if it may come as a bit of a surprise.

Fischer’s vocals are first featured on the next track, “Inside the Flood“, and in choosing him, Long Distance Calling has gone for sort of a hard rock feel. The vocal style is reminiscent of Mike Patton, without nearly as much range. I always give bands credit for pushing themselves and trying something new, it’s just that sometimes, it doesn’t quite work. While Fischer is no doubt a talented singer, his vocals combined with the lazy, repetitive riffing (save for a 2 and a half minute segment that’s a bit too cheesy ballad for me) make the song little more than a sub-par hard rock song.

Ductus” is up next, and starts off with some calm, slow guitar picking, accompanied by a quote from Twin Peaks. The song picks up steam a little as the quote ends, and despite a few really out of tune guitar notes, things move along comfortably with the inclusion of some electronic elements. The pace switches about halfway through, and the song is dominated for a few moments by some heavy, rhythmic, almost tribal sounding drumming. Things tend to draw on a bit long, and I feel like this song could have been a minute or two shorter, honestly. It even ends with the cheesy, dramatic pause followed by a single loud guitar note (you know, the way bar bands end their cover set).

The best part of the following song, “Tell the End“, comes in the last 20 seconds, with an American Psycho quote. Otherwise, it is, sadly, another boring, repetitive song. “Welcome Change” features a few guest vocalists, Vincent Cavanagh from Anathema, and Norwegian singer/songwriter Petter Carlsen. Carlsen’s soft, delicate vocals are a big departure from Fischer’s hard rock style, yet they are even more powerful. Cavanagh is really only featured on the chorus, which strikes me as kind of an odd move – bringing in a guest vocalist for such a small part. The song works as a pretty good prog song, and actually is a bit of a welcome change, if only for the difference in vocals.

Waves” is an electronics heavy track, and is easily my favorite track on the album. It’s very simple, but good. Some solid guitar work, and excellent drumming, propel the track forward, but sadly things fall very, very flat with the following track, “The Man Within“. The intro drumming is top notch, but as usual on tracks with Fischer’s vocals, the music gets repetitive and very boring. There are more out of tune guitar notes here, and although there are some explosive moments on the track, it’s overall a rather predictable track.

One of the other high moments of the album is “Breaker“, a track that starts off with almost a stoner feel to it, and moves along nicely through a series of peaks and valleys, proving to be one of the more interesting tracks on the album. The album closer, “Black Hole“, starts off with an electronic, almost dancer feel to it, before progressing to a melancholic sounding end.

Ultimately, while I applaud  for branching out and taking chances, I think the album falls short. While they’re seemingly moving in a more prog oriented direction, I just don’t feel like they’ve quite gotten there yet.

My Bloody Valentine – M B V

Artist My Bloody Valentine
Album ‘MBV’
Genre Shoegaze/ Alt-Rock
Web Facebook | Website
Label Pickpocket Records
Release Feb 2 2013
Rating Excellent

The simplest way to sum up my thoughts on this album are that it’s almost worth the 22 year wait since their last release ‘Loveless’. I know it’s not fair to compare ‘M B V‘ to ‘Loveless‘, but it’s bound to happen, so let’s get it out of the way early on. And to be fair, some of this stuff has been in the works since 1996, so despite the fact that it took another 17 years to finalize and release it, it’s almost a time capsule of an album. With all of that said, this is a really, really fantastic album. It’s what you would expect of an album that follows ‘Loveless‘, for the most part, with the album opener “She Found Now” sounding like it may very well have been written during the same sessions. The lush, dreamy aura is a little more sparse than anything on ‘Loveless‘ was, but it’s textbook My Bloody Valentine. That really sums up much of the album, though that’s not a bad thing at all. When you have sort of a timeless sound, it works.

Is This and Yes” acts almost as an interlude of sorts, being the most serene track on the entire album, with the lush, ambient keyboard accompanied only by Bilinda Butcher’s haunting vocals. This track kicks off sort of an ambient “section” of the album, and the album itself is really broken up into three sections (the first of which being the classic My Bloody Valentine sound, of course). The follow up track, “If I Am” finds Butcher repeatedly singing “Even if I am loved” over a heavily distorted guitar line, carrying a sense of loss with it. “New You” picks up the pace a little bit, and could have easily found itself on the ‘Lost in Translation’ soundtrack.

The third section of the album, which is the more, umm, interesting section, kicks off with the dancer beat of “In Another Way“, which only sort of gives you an idea of what’s to come. If you’re a long-time fan of the band, you’re probably familiar with the jungle/drum ‘n’ bass ideas the Kevin Shields hinted at in the 90s, and while they’re not found here, this last section definitely has some elements. The two closing tracks on the album show those elements of experimentation, and while they’re definitely the odd tracks on the record, they grew on me.

It’s impossible to have any sort of discussion about shoegaze, as a genre, without talking about My Bloody Valentine, and as such, there were very high expectations and hopes surrounding this album. In my opinion, ‘M B V‘ lives up to the hopes, though the final two tracks (“Nothing Is” and “Wonder 2“) do feel pretty out of place. Over all, an absolutely great album, and I only hope that we don’t have to wait another quarter of a decade for more new music. – Shanexedge

Cult of Luna – Vertikal

Vertikal cover art

Artist Cult of Luna
Album ‘Vertikal’
Genre Post-metal
Buy/DL EU / US
Web Official Website / Facebook
Label Indie Recordings (EU) / Density Records (US)
Release Jan 25 2013 (EU) / Jan 29 2013 (US)
Rating Must Listen

The release of ‘Vertikal’ marks the 15th anniversary for Swedish post-metal heavyweights Cult of Luna. It also marks a departure from their long-time label, Earache Records, with the release being handled by Indie Recordings in Europe, and Density Records in the US. The album itself is a concept, heavily influenced by the 1927 film Metropolis (those familiar with the film will notice an immediate similarity between the album’s cover art and the artwork from the film’s poster). The film is set in the year 2026, in a dystopian society ruled by wealthy industrialists, and focuses greatly on the oppression of the workers, and specifically on the son of the master of the city and his ensuing attempts to overcame the classist separations. Great film, and a wonderful concept for a band like Cult of Luna to tackle.

Upon first listen, one of the biggest thing to strike me is how well Cult of Luna captured the feeling of the film with the interlude segments (essentially, the structure of the album is interlude, song, song, repeat) – these segments do an incredible job of setting a tone that’s perfectly in line with that of the film. While not necessarily as heavy, musically, as ‘Eternal Kingdom’, the stylistic progression here is remarkable, and still makes for one hell of a dark, heavy record. There are a lot of varying influences and methods at work here, showing some growth by the band in the 5 years since their last release. This is not an album that can be full enjoyed casually. That’s not to say I don’t enjoy it when I’m just driving or whatever, but there is a lot to take in here. A lot of layers, and a lot of little details that I’m still uncovering every time I listen to it.

To no great surprise, the band has done an amazing job of creating an album that is at moments serene and beautiful, and at others dark and brooding. It’s not a terribly difficult task for a band as talented as Cult of Luna, but it’s impressive nonetheless. This is all laid out over the course of the record, but “Vicarious Redemption” is an undeniable highlight, where the band lays out all of these elements with great success in one grandiose 19 minute exhibition. Very few bands can pull of a track that long and still have it be highly listenable every single time, but it absolutely works here for Cult of Luna. By the time the drums kick in and the song begins to pick up a little steam, you fail to notice that nearly 7 minutes has already passed. If you’ve seen Metropolis, it’s very easy to see the scenes presented by this song, and the album as a whole.

One of the themes present on the record, as stated by the band, is machinery, and nowhere is this more evident than on “Synchronicity”. The song borders on being industrial with how it plods along, sounding remarkably like a factory assembly line. You can very clearly envision the gears turning, hammers clanging against steel, and general dark atmosphere of such an environment. This scene clashes nicely with the much more melodic and serene intro to the follow-up track, “Mute Departure”, the first track on the album to really feature any clean vocals. The song does pick up some momentum and ends up getting a lot heavier, which makes the intro work that much better when placed between the rest of the track and the preceding song.

One of the album’s most triumphant moments to me is the build-up of “In Awe Of”, and how well it leads into the album closer, “Passing Through”. This final track is one of the most haunting songs I’ve heard in quite some time, and it makes really great use of texture (particularly with the way the vocals are layered in). It’s a dark and beautiful close to an album that will no doubt find it’s way on to several 2013 best of lists (I know it’s only January — it’s that good). Existing fans will certainly be pleased, and will, like me, be more than fine with the 5 years it took to deliver such an excellent release. A huge thank you to Density Records for allowing me to review such a great record.

Roundtable Review: Lights & Motion – ‘Reanimation’

Artist Lights & Motion
Album Reanimation
Genre Post-rock / Ambient
Buy/DL Deep Elm Digital
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Label Deep Elm Records
Released Jan 16 2013
Rating Very Good / Excellent

    In our first roundtable review of 2013 we are examining Lights & Motion’s debut album, ‘Reanimation‘, released January 16th on Deep Elm Records. Lights & Motion is the brainchild of Swedish musician Christoffer Franzén and tends to walk among the lighter side of the genre. Without further ado let’s get to our panel of reviewers —

    “I tend to prefer vocal music to instrumental music. I like stories and words and the emotion and nuance that can be communicated vocally. Furthermore, instrumental music has to try a little harder to sound unique; usually a singer has his own delivery, word choice, enunciation and timbre that sets songs apart. All of that said, Lights & Motion’ s latest, ‘Reanimation‘, is a good example of an instrumental album done well. It sounds like a mixture of Sigur Ros and The End of the Ocean but with acoustic guitar, dedicated string section and a piano holding the melody. Highlights include “Victory Rose” – mellow, pretty track, perfect for a night drive; “Fractured” with a cool piano melody, “Texas” a track that starts with crickets, acoustic and slide guitar, then builds and adds a xylophone; and finally “Dream Away” , which I was pleasantly surprised when the final track had vocals, and a pretty good singer to boot. It serves as a great bookend to the album. The acoustic guitar and prominent piano help to separate this from other post-rock bands I listen to, so I’d rate it as “Excellent“. Well done!” – Tim

    “Let me get this out if the way first and foremost – the debut album from Lights & Motion is a good album. It has all of the crescendos you could hope for, all of the cinematic sounds, and all of the classic post-rock elements. To me, though, that’s part of its downfall. There is literally nothing here that you haven’t heard before – this part sounds like Explosions In The Sky, that part sounds like The Album Leaf, etc. There’s enough of a foundation here to leave me somewhat looking forward to what’s to come, but there just isn’t anything new here. The songs are well executed, they just travel very, very familiar ground.” – Shane

    “I’d heard A LOT of hype around the Lights & Motion release ‘Reanimation.’ Generally I’m pretty wary of anything that’s lavished with excessive praise but I manage to crack this album with an open mind. And you know what? It wasn’t terrible, but I definitely wasn’t blown away. The 13 track-record has its moments. It’s easy to listen to and even edges on greatness, but it just can’t get there. All the songs are catchy in an “I-feel-like-I’ve-heard-this-somewhere-before” kind of way that leaves me wanting to listen to the songs I’m reminded of, not the L&M versions. The perfect example of this is “Aerials.” While arguably one of the better songs on the album, it’s eerily similar to “Your Hand In Mine” by post-rock pros, Explosions In The Sky.
    The production on the album is incredibly clean with all the instrumentation reaching your ears quite clearly but I felt it was lacking in raw passion. Perhaps L&M sacrificed intensity for certain cinematic clarity. I would rate this album as average/solid.  Regardless the album is still pretty enjoyable and worthy of a listen through or two. After that? Who knows.” – Jerome

    “There’s not a lot that i need to say about this album, because if you’re a fan instrumental rock post-Explosions In The Sky then you already know what this sounds like. It’s beautiful, dramatic, powerful, to-the-point, explosive and uplifting. The culmination of everything that post-rock (or a certain school of post-rock) has been trying to achieve for the past decade. It picks your spirits up where all else has failed. It inspires feelings of awe and wonder. It’s music for stargazers. It’s the sound of your first crush and your last love. It’s crescendo-core through and through, but crescendo-core at its finest. A polished and perfected homage to everything that came before it. Is it derivative? Yes. Repetitive? A little. Contrived? Probably. But for any other band to revisit this style of music now would be futile — ‘Reanimation‘ just wont be topped. A must-listen to album.” – Shooter

    “After being bombarded by hype (thanks Deep Elm, bang up job again), I spun ‘Reanimation‘ a few times to get a feel for this ‘breathtaking’ and ‘magical’ release by EITS, GIAA, Lowercase Noises, Dorena, The Best Pessimist, Aerials, I mean Lights & Motion. Does changing your band name, as a solo musician, still allow you to use ‘debut release’ in marketing? Odd. Well, each listen left me unimpressed. I’m more of a fan of energetic, progressive, guitar-based instrumentals over the more emotive, piano-driven offerings but even so, this album provided nothing I haven’t heard on at least twelve other albums over the past seven years. Sure, it’s pretty, well produced and inoffensive – but it isn’t innovative or even noticeable in anything other than the fact it is a new release.  I must have heard that same marching, building drum beat thousands of times over the past few years. You know the one, EITS uses it on every other track. It failed to meet my number one criteria: “Can I recognize the band by the music, without looking?” I’m sure this album will end up on years’ end best of lists, because Deep Elm has excellent marketing skills and a choke hold on mid-major ‘post-rock’ releases. For me, I’ve rated it as a Solid Release – it’s OK, but don’t get your hopes up too high.” – Bothra

    “The first grievance I can see anyone listening to this album having will be that it’s formulaic and derivative. I can’t argue with that point. The first few times I listened to the album, I was ready to walk away calling it an unabashed homage to Explosions in the Sky, M83, and Sigur Ros. But I kept at it because the music has an undertone that deserves recognition. While almost every track is the formula of slow build to giant explosion, this album seems to almost perfect it. Over the course of thirteen tracks, this wears thin, but it still managed to captivate. The songs take hold when the piano is given more time to shine and the thumping drum beats stand off to the side instead of slapping you in the face. Two great examples of how this formula is done so well are “Drift” and “Reanimation“. This is a debut album and I can see this act evolving well over the next few years. Hopefully our next outing with Lights and Motions is more refined and less capable of being slapped on a movie trailer.” – Bryan

    “Deep Elm’s lineup of post-rock talent never ceases to amaze me. The label just seems to have a knack for finding some of the best talent around and ‘Reanimation‘ by Lights & Motion is just further proof of that. ‘Reanimation‘ is chalked full of cinematic flair, ripe with over the top emotion and has those captivating indescribable elements that carry it to its place among the higher echelons of post-rock releases. With top-notch production qualities and fine tuned craftsmanship, I can safely say this is the first truly brilliant post-rock release of 2013 and I think that it sets the bar high insanely high for in that regard. It’s crazy to think that at just three weeks into the new year there is already an album that will undoubtedly be found on many year-end lists and for good reason. ‘Reanimation‘ is an hour plus long magical journey that explores the depths of the soul by seamlessly transitioning between moments of glory, triumph and heartbreak. After dozens of listens I still find myself impressed at the musical mind of Christoffer Franzén (Lights & Motion). That no one particular instrument stands out as clearly being dominant or “better” than the rest speaks volumes to Franzén’s talent.
Prior to the release of this Roundtable Review, I’ve read early rumblings and criticism from those who were quick to dismiss this album as simply another third wave crescendo-core ripoff and I just don’t hear it honestly. There is a difference to me between common similarities and straight up reproducing another band’s style. Sure, there are inspirations found on ‘Reanimation‘ from EITS, and probably more so from Dorena than any other band, but they are just that, inspirations. What sets Lights & Motion apart is the fact that they’ve taken a successful formula and mastered it to include their own artistic interpretation and flair. Obviously there is going to be a little overlap in sound amongst instrumental artists of a specific style within a genre, but I think it’s far too easy to get swept up in trying to point to specific similarities than it is to simply enjoy an album for what it is. Sure “Reanimation” might not tread upon much new ground, but sometimes that’s ok and it shouldn’t detract from the fact that simply put this is an excellent album that needs to be a part of any post-rock fan’s collection.”  – IamHop

Postrockstar’s 2012 Year End Awards

As we write the final chapter of the book of 2012, We leave you with our year end wrap up awards that encompasses everything that our site strives to accentuate within the realm of post-rock. It was a huge year for post-rock that saw the return of two of the genres biggest bands and many new bands emerge and make their names known. I’d like to think of 2012 as a year that really saw the genre explode creativity wise, as what is most commonly referred to as the “third wave” post-rock revival seems to be coming to something of an end. While crescendo-core still remains as popular as ever, a lot of bands have begun branching off in different directions exploring exciting new sounds. Where are we headed in 2013? Who really knows, but Postrockstar is optimistic for the future and can’t wait to start helping our readers discover new music.  All of our decisions were made by a panel of our writers and were discussed at extremely great lengths. These albums stood head and shoulders above the rest in their respective categories and for that we’re endorsing them as the best releases of 2012. Without further ado, the awards…


Sigur Ros – ‘Valtari’
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Honorable Mention: Caspian – ‘Waking Season’

“Sigur Ros return from hiatus to reclaim their spot at the top of the post-rock genre. Valtari to me presents the best range of emotion, song structure, raw ability and timelessness showcased in any album released in 2012 and for that it deserves all the praise it has gotten.”  – IamHop


The End of the Ocean – ‘In Excelsis’
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Honorable Mention: EF – ‘Delusions of Grandeur’

“I’ve maintained that if the EP was just two songs longer it would still be among the best albums released this year. The End of the Ocean are a band with unlimited potential and this EP showed true promise for a bright future.” – IamHop


Whirr – ‘Pipe Dreams’
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“Carrying a more downtrodden tone than their previous releases (Distressor, and the June 7″), Pipe Dreams cements Whirr as one of the leading bands of the modern shoegaze scene. This is a band that isn’t afraid to push the boundaries of shoegaze a bit (see ‘Formulas and Frequencies’), and this album excels for that.” – ShaneXedge


Amenra – ‘Mass V’
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“The long awaited newest album from Amenra delivered on all fronts, and with its release, the band stood tall amongst their contemporaries (and even some of their predecessors). With so many great post-metal releases this year, there was a lot of competition, but “Mass V” was the obvious pick for best of the year.” – ShaneXedge


Mental Architects – ‘Celebrations’
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“This album is everything that a math-rock album should be in that it doesn’t try to do too much. All of the tracks have great synergy and the energy remains high from start to finish. Most Math-Rock albums tend to peak early and slowly fizzle at maintaining my interest after multiple listens. “Celebrations” just keeps getting better.”IamHop


Good Weather For An Airstrike – ‘Underneath the Stars’
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“Underneath the Stars is an album that allows itself to be discovered on the listener’s own terms. It’s understated; it’s sparse; and it has an expansive atmosphere, so pure and vacuous that your deepest thoughts can’t help but wander into it. This is Good Weather for an Airstrike’s magnum opus — a powerful catalyst for your mind’s own voyage.”Shooter


Watermark High – ‘Slow Motion Clarity’
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“Many post-rock bands utilize electronics to infuse their music with energy and intrigue. What makes Slow Motion Clarity stand above the rest is the way in which the electronic elements supplement the album’s lush, almost aquatic atmosphere, without ever detracting from the organic nature of the guitars with which they interplay.” – Shooter


Echotide –  ‘As our Floodlights Gave Way to Dawn’
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This is one of the most confident realizations of the “one long song” approach to album composition that I’ve ever heard. It has the strange atmosphere of Godspeed You! Black Emperor; the hard edge of Gifts from Enola; the melody of Mono; and the flow of Do Make Say Think. And it’s arguable better than many of those bands’ works. Lose yourself in this.– Shooter


Sunlight Ascending
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“‘Leaving My Waiting Room’ is a much more focused sounding album when compared to the band’s 2010 release ’You Don’t Belong Here’. It really just seemed like something just clicked for the band while recording this album and they took their music to the next level. This is Sunlight Ascending‘s best work to date and is an album I certainly wouldn’t sleep on.”IamHop


Alcest – ‘Les Voyages De L’ame’
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“Despite the fact that I don’t speak or understand french, I still find the vocals found on Alcest’s ‘Les Voyages De L’ame’ to be utterly breathtaking.  Dynamic range, brilliant harmonies, voices full of emotion and the occasional black-metal shriek made this album absolutely shine brighter than the rest.” – IamHop


Balmorhea – ‘Stranger’
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“I’ve always loved Balmorhea for their ability to make unique music not confined by the restraints of a genre. This album solidifies that motif. You can hear the thought and dedication that went into each track and the musicianship at work. They aren’t afraid to change their sound and take chances, and this album proves that effort pays off.”Bryan


Fire Spoken By the Buffalo – ‘Air Your Grievance’
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“Fire Spoken By the Buffalo’s decision to incorporate post-punk screamo vocals into their brand of well-rounded post-rock took “Air Your Grievances” from a once highly anticipated album to a tragic mess in my books. The vocals did the band no real favors and definitely turned away more post-rock fans than just myself.” – IamHop

Staff Picks – ShaneXedge’s top 10 albums of 2012

We continue staff picks week with our residential guru of all things loud ShaneXedge. Shane prefers Shoegaze and the heavier side of the Post-Rock and Post-Metal genres and before writing for Postrockstar was a PR writer for several online retailers including ThinkGeek. He is also a founding member of the Post-Rock &Beyond room on
1. Amenra – Mass V
2. Sigur Ros – Valtari

3. Niño Koi – La Pequeña Muerte
4. Downfall of Gaia – Suffocating In The Swarm Of Cranes
5. Crippled Black Phoenix – (Mankind) The Crafty Ape
6. Balmorhea – Stranger
7. The End Of The Ocean – In Excelsis
8. Black Clouds – Everything Is Not Going To Be OK
9. What The Blood Revealed – Harbour Of Devils
10. Hypomanie – Calm Down, You Weren’t Set On Fire

Honorable Mentions –
Powder! Go Away – We Don’t Know When It Has Begun, But We Know That It Will Never End
Sleepstream – A Waltz With The Seventh Crane
Time Columns – Mana
If These Trees Could Talk – Red Forest
Colaris – Renewal

Amenra – Mass V – 99%

My love for post-metal is no secret, but I’m also somewhat picky about it. Most of the stuff that falls into this category that’s more on the “djent” (I hate that word so much) end of things is not my cup of tea. The other tricky aspect for me is vocals. When it comes to vocals in post-metal bands (and most metal bands in general, really), it’s really easy for bands to go wrong in my opinion. Picky picky, I know. There’s a lot of aspects that, to me, make a great post-metal/sludge/whatever record, and it’s hard to get them all together in one release most of the time. This makes for a lot of good to pretty good records, but very few that are really great.

My point in all of this is that ‘Mass V’, the long awaited new album from Belgian masters Amenra is absolutely, without hesitation, a really, really great record. The Neurosis comparisons are going to be obvious, perhaps even more so given that this is the band’s first release on Neurot Recordings, and the band has no qualms wearing their influence on their sleeve (they once said that without Neurosis, they “might not have even existed at all”). The fact remains that any band treading these same sludgy waters will automatically be compared to Neurosis, that’s just a given. Rather than emulating the forerunners of the genre, however, Amenra have grown and matured into an entirely separate beast, and this album truly shows that.

The first track, “Dearborn and Buried”, sets the pace for the album, and really shows (as does the entire album, really) how incredibly talented Amenra is as a band – the song is crafted so well that by the time it ends, you’ve failed to notice at all that 9 minutes and 15 seconds have just passed. It’s slow, dark, brooding, and hypnotic, but there’s an intensity and energy here. One that, in my opinion, surpasses anything Neurosis accomplished on their latest album, showing full well what Amenra is capable of. Jumping back a bit to my criticism of vocals, Colin H. van Eeckhout absolutely nails it. When I hear a band like this, performing music that is borderline apocalyptic, I want intensity in the vocals. There’s a full on sense of mania and terror in his vocals, and it plays off of the music so very well.

“Boden” follows, and is an absolutely crushing track. The mood created here is one of tension, and the guitars and vocals blend together in a cacophony of dread. The songs slows pace a bit, with a soft spoken word part, which is then met by an immense wall of doom heavy guitar riffs. This is one of the standout moments on the album to me, and shows just how well Amenra know how to create a scene with music. The following track, “A Mon Ame”, carries on at a much more quiet, droning pace for the first 6 minutes or so, with sparse, haunted vocals barely recognizable amongst the fog. Once the track hits the 6 minute mark, things get heavier for a bit, before slowing back down to another lonely sounding quiet moment, accompanied this time by nearly whispered vocals. As the guitars build back up, it’s an incredibly tense, desolate scene that they’ve laid forth. This is perhaps where Amenra bears the most resemblance to Neurosis, though again, it’s in no way a copycat scenario. It’s simply one great band acknowledging the mastery of another.

In what strikes me as almost a nod to their predecessors, the final track on the album, “Nowena | 9:10” features guest vocals from Neurosis’ own Scott Kelly. After the clean vocal intro, Kelly’s growl provides a great counterpart to the frantic screams of van Eeckhout. The main difference between this track and the other 3 on the album is that once the intro gives way to the explosion of anguish that follows, it never lets up. Where the other tracks had their ups and downs, “Nowena | 9:10” barrels straight through. This is end-of-the-world music, pure and simple. There’s just a feeling of the world burning down evident without any knowledge of the lyrics here, and once you decipher “Novena burns for my brothers at night, a flame that burns the bodies of light” and “Brothers burn, I see the fire in their eyes”, that feeling is cemented.

The final few minutes of the record consist of a crushing repetitive riff and van Eeckhout’s screams, fading out into oblivion. If I had one gripe with this record, it’s that I wish it was longer. Amenra is so incredibly talented at crafting songs that grab you and pull you in that, once this album’s 41 minutes are over, you can’t help but to be left wanting to hear more. All I can do (aside from have it on repeat, which I have been doing quite a bit) is hope that we don’t have to wait another 4 years for a new album. I’ll also keep my fingers crossed for a US tour, as an Amenra live show is absolutely breathtaking. I can’t recommend this album enough (it’s worth mentioning that the vinyl version features different artwork, additional sounds, and alternative mixes), and if you get the chance to see them live, my recommendation is just as strong.

Available on CD for $14 from Neurot Recordings

Available on vinyl (2xLP) for $24, also from Neurot Recordings