Genune - Infinite Presence

Labels: Consouling Sounds

Formats: Vinyl/CD/Digital

Release Date: 17 May 2025

Tracklist:

1. The Sun Will Always Shine

2. Little Fountains

3. Stay a Little Longer

4. Infinite Presence

5. To Not Grow Old

6. I Want You Here

The dust has barely settled following Download Festival (I wasn't there) but it's impossible to escape all of the articles about anonymous/masked bands. I like intrigue and mystery as much as the next music fan, though I also like to look deeper; seeking out bands that deserve more of the spotlight. I vow to get better at this and tonight's review was chosen by the heart and not the usual schedule. 

Genune are a black metal quintet from Bacău/Cluj-Napoca, Romania and might only be the fourth band from the country alongside Bastos, Siculicidium and Void Forger that I've featured here. Genune started life in 2012 with their self-titled demo. It was followed by a further demo called Inner Depths, as well as two full-length albums called Cern sol and Inert & Unerring. Following the release of their third album, Genune are due to play their first live show at Romania's Dark Bombastic Evening festival alongside the likes of A Swarm Of The Sun and Year Of No Light, amongst many others in August.

I purchased a black metal album (a complete blind buy) from my local record store over the weekend, though it’s probably on the other end of the spectrum compared to this album from Genune. After the initial heaviness that opens ‘The Sun Will Always Shine’, you’re greeted with clean vocals and shoegazey instrumentation. To be fair, the band do describe themselves as more of an atmospheric/post-black metal band. 

That said, they do furious black metal really well, without any hint of parody. It both punctuates and integrates itself with the band’s melodic approach brilliantly during what is a lengthy opener. It’s already noticeable that Genune prefer expansive dynamics over instant gratification and it’s a joy to hear as piano adorns the ending alongside angular guitar riffs, and percussion.

The band’s metallic tones are even more prevalent on ‘Little Fountains’, alongside an uplifting mood that’s created by their instrumentation as a whole. Black metal can be uplifting and emotive, as Genune proves here. Instrumental for nearly three minutes, when the vocals do kick in, they do nothing to ruin the mood. After a brief period of abrasiveness, you’re plunged into silence before yet more exquisite musicianship.

A foreboding atmosphere drifts over you during ’Stay a Little Longer’, in what is Genune’s heaviest song on Infinite Presence so far. Really expansive and expressive music has been my go to this year so far, and that could cover all manner of bands or genres I know but maybe my tastes are changing again. With instant gratification comes a rush but only a short one. It’s much better to saver these memories.

The album’s title-track ‘Infinite Presence’ is acoustic, which catches you off guard slightly. It is loverly though and soothes the soul with it’s gentle melody. The sound of the fingers sliding up and down the strings/frets somehow adds to the feel as well. That brief moment of calm is quickly dispensed with as Genune launches into penultimate song ’To Not Grow Old’. Thankfully though, it’s not all fire and brimstone as the quintet adds in classy melodic passages complete with gothic-style clean singing. It’s also the first time (at least to these ears) that Genune makes use of electronica, which by the way is used perfectly.

Album closer ‘I Want Your Here’ is also it’s longest song and it continues the affair (or relationship with) metallic black metal. Containing all of the elements that make this album so listenable, it grows with every bar. Easily the most majestic piece of this record, that may well usher in a new era when it comes to Romanian heavy music. People have compared the band to Deafheaven et al but they’re so much more than that.

With my attention being constantly drawn to so many different bands and releases, I get overwhelmed. Spending precious moments discovering and listening to bands out of nowhere (like Genune) is more than worth it though. Infinite Presence is brilliant and if it hits you like it hit me, please check out their back-catalogue too.

You can stream and purchase the album on all formats from Genune below:-

Physical copies can also be purchased from Consouling Sounds here - https://store.consouling.be/collections/new/consouling-sounds

Genune - https://www.facebook.com/genunebm

Consouling Sounds - https://www.facebook.com/ConsoulingSounds

Blue Noise - Demo #1 [Blue Noise]

Labels: Zegema Beach Records

Formats: Tape/Digital

Release Date: 06 May 2019

Tracklist:

1. One

2. Two

Blue Noise is just one of the many bands that come from the incredibly talented Maya Chun (namely Goodthink, Youth Novel, Heavenly Blue and the list goes on). Demo #1 was one of three releases to come from the union of Blue Noise and Zegema Beach Records in 2019. It was a super limited pressing across just 26 tapes (long sold out). It features two songs but good luck trying to pin down a genre.

I’m trying to write this in a fairly short window, so apologies if it ends up being garbage! ‘One’ starts off the demo in quiet fashion thanks to it’s gentle intro before Maya launches into a sound that’s every bit as chaotic as it is powerful. A mix of almost every conceivable heavy/dreamy genre awaits. The abrupt switch to ‘Two’ is quite startling, especially if like me, you were lost in that first song. 

Thankfully, it doesn’t take too long before you’re transported back to that exact same feeling. Aside from being more grandiose, ‘Two’ goes through various phases from cinematic to minimalist before making a 180 degree turn and going headfirst back to mayhem-inducing intensity, enveloped by glorious melody. You can just tell by listening that these songs are/were a complete labour of love.

This demo formed the blueprint for what Blue Noise became and I’ll be continuing this little journey at a later date. For now though, I’m left with the impact that these two songs have made. They’ve not just shaped a musical project, they’ve helped shape a modern day dynasty (if that’s the right word?) and blurred lines between genres.

You can stream and purchase Demo #1 as a name-your-price download from ZBR below:-

Blue Noise - https://www.facebook.com/bluenoisemi/

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords

Hillsboro - White Trash

Labels: Self-Released/Softseed Music

Formats: CD/Tape/Digital

Release Date: 23 Aug 2024

Tracklist:

1. POV

2. Sleep Dealrr

3. White Trash

4. Fell

5. White Trash (Demo)

6. Fell (Acoustic)

Canadian five-piece alternative/shoegaze band Hillsboro released their latest EP White Trash last month. They self-released it on CD, tape and digitally (containing six tracks), while Softseed Music also handled a limited tape pressing as well (containing four tracks). This EP is described as being Hillsboro's transition from an indie-rock sound to a more alternative, shoegaze approach that might appeal to fans to Title Fight and Superheaven (amongst others). I'm going to be reviewing all six tracks here.

White Trash opens with ‘POV’, which is a noisy, sample-filled intro. First song proper ‘Sleep Dealrr’ is a blossoming modern rock song brimming with melancholic vocals that straddle the line between grunge and indiemo. They were name-checked alongside Deftones in the promo e-mail I received and the similarities are there during the heavier moments.

The title-track ‘White Trash’ has more of a garage-rock approach early on before morphing into a more distorted cross between alternative rock and shoegaze soon after. It switches between the two throughout it’s short-ish playing time, keeping the momentum high. ’Fell’ reminds me of the pondering yet beautiful early sounds of Time In Malta and even Antenna-era Cave In. I love how catchy and accomplished it sounds. An absolute joy.

Onto the additional tracks starting with the demo version of ‘White Trash’, which as expected sounds a lot rawer than the final version above. That being said, it’s not too different from the final version. Ending the EP with a dreamy acoustic version of ‘Fell’ is classy, especially as soothing violin comes to the fore. It’s an easy-going way to close the release.

As if this wasn’t enough, they’ve recently released their self-titled album on vinyl via Softseed Music too. We all know that “exposure” doesn’t pay the bills, but getting your music out there for sale on various formats goes some way to help. It’s been a whirlwind couple of months in that regard for Hillsboro and long may it continue.

You can stream White Trash below where you can also purchase directly from Hillsboro on all available formats:-

Hillsboro - https://www.facebook.com/hillsboroinc

A limited amount of Swirl and Clear tape copies are available from Softseed Music here:-

https://softseedmusic.bandcamp.com/album/white-trash

Softseed Music - https://www.facebook.com/softseedmusic

Qoya - Karma

Labels: Self-Released

Formats: CD/Digital

Release Date: 04 Oct 2024

Tracklist:

1. Ascend

2. Ghost

3. Mantra

4. Karma

5. Anima

6. Timeless

7. Sheol

8. Mirrors

9. Temple

10. Altar

Way back in December 2022 (how has it been that long already?) I reviewed the 2nd Stellar Frequencies Session from French post-punk/post-rock/shoegaze band Qoya. On 4th October the trio are due to self-release their latest album Karma, which follows their 2021 full-length Yokai. I really enjoyed what I've heard from Qoya to date and coupled with a broadening musical palette courtesy of Pelagic Records (Thot, Sugar Horse etc), and a more recent deep-dive into French punk thanks to Crapoulet Records, I can't wait to get stuck into this release.

As I hit play on Karma’s opener ‘Ascend’, the extremely slow build has me worried. It takes a good fifteen seconds for any sound to come out of the speakers and I’m not gonna lie, I thought I’d been sent a faulty promo. Thankfully and obviously that isn’t the case, and as intro song’s go this one is beautifully delivered.‘Ascend’ was wholly instrumental, whereas ‘Ghost’ sees Qoya fully open up with both vocals and heavier musicianship. The vocals are clean and definitely lean towards the haunting sounds of high-profile goth/post-punk/pop vocalists gone by (Robert Smith, Tony Hadley) and even have some similarity to the clean tones of Vice Martyr (of Hateful Abandon). The instrumentation is made up of subtle percussion, synths, and melodic guitar work. 

Qoya’s sound is a melting pot of many different styles that are effortlessly woven into one. I recently watched (the newly reformed) Linkin Park live-stream and while that fact bears no real importance here, there is a subtle synergy between both bands musically as ‘Mantra’ flows. Maybe you’ll understand what I’m on about one day! With title-song ‘Karma’ it really feels like Qoya are looking to breakout of their small musical cosm and into the wider consciousness, and why shouldn’t they? After all, there are millions if not billions of music fans out there. Yes there needs to be an element luck thrown in as well but sometimes a band make’s their own.

Atmospheric, Cinematic music like this has become an ever growing love of mine and ‘Anima’ proves exactly why as it navigates through nearly four minutes of flowing guitar work, and glacial percussion. ‘Timeless’ is a very apt choice of song title as one day Qoya’s blend of slow and mournful post-rock could become just that. I for one hope it does! The most expansive side of Qoya shows through during in their five plus-minute songs, starting with ’Sheol’, which has a much doomier outlook while still sounding easy on the ear. At times, it reminds me of UK post-punk/indie band Franz Ferdinand, which is not a bad comparison in my opinion (tell me if you agree or not). 

Effervescence comes with ‘Mirrors’, which is amongst the most shoegazey of songs on Karma thanks in no small part to the effortless delivery of those now familiar, and epic guitar tones. This is starting to get a bit emotional and as if my general verbose gushing wasn’t enough, we still have two songs to go! ’Temple’ is the first of those two and Qoya straddles a (by now) familiar path, while also performing their most expansive song on Karma. Heavily instrumental for it’s majority, it’s grandiose beyond compare. When the vocals do appear, they’re soaring first and then buried deeper later on. A brooding dynamic that really works for the band.

Album closer ‘Altar’ is at the opposite end of the song-length spectrum while being up front when it comes to ambience. It rounds out the album in haunting brilliance, allowing you to truly take stock of what you’ve just witnessed. With a few more months of 2024 to go there’s no doubt going to be records that really hit hard. When Karma is released in early October, it will definitely be one of them.

You can stream 'Karma', 'Timeless' and 'Sheol' prior to full release below, where you can also pre-order the album directly from Qoya:-

Qoya - https://www.facebook.com/qoyamusic

Sutras - Awakening Of The Spirit EP

Labels: Self-Released

Formats: Digital

Release Date: 30 Aug 2024

Tracklist:

1. Deathless

2. A Daily Reprieve

Recently I was contacted by an individual from Washington D.C. of all places. Tristan Welch makes up one half of US punk/shoegaze/post-hardcore band Sutras, alongside Frederick Ashworth. Tristan's a member of drone band Requiem while Frederick also performs in post-dreamgaze band The Escape Artist, as well as experimental band Almas (if my sources are correct!). Awakening Of The Spirit contains two songs. Join me as I dive into their debut EP.

I’ve nailed down a review schedule for the next few weeks and honestly, it’s a proper relief. I still have a long way to go but things are looking a lot better organisation-wise. Kicking off with US duo Sutras feels absolutely perfect, given the breadth of submissions I’ve received lately. Sutras call themselves a punk/shoegaze/post-hardcore band and on hearing ‘Deathless’, it’s hard to argue with their assessment. The duo’s music is both melodic and sludge-like in delivery, growing with emotion throughout it’s four+ minutes.

‘A Daily Reprieve’ hits hard instantly, which isn’t always the case for post-rock/hardcore bands. The overriding sense is that of heavy sludge but there’s something more subtle going on as well. As a duo, Sutras know exactly what they want to achieve musically. Obviously, it’’s early days and given that they cite influences as far ranging as Tragedy, Jesu, Majority Rule and 108 (as well as receiving the mastering treatment from James Plotkin here on less), it won’t be too long before they’re standing next to their musical peers.

You can stream Awakening Of The Spirit via bandcamp below:-

Sutras Instagram - @sutras.music

Infant Island - Infant Island

Labels: Conditions Records/Dingleberry Records/Left Hand Label/Middle-Man Records/Zegema Beach Records

Formats: Vinyl/Tape/Digital

Release Date: 01 Aug 2018

Tracklist:

1. Small Differences

2. Replenish

3. Broken Pieces

4. Fall

5. Diminish

6. A Preoccupation

7. Further

8. Where There Is Ruin (Bonus Track)

Post-hardcore has become such a versatile sub-genre over the last few years. So much so in fact, that it almost doesn't exist due to so many blurred musical lines. For one, there's the blistering (grind-inspired) emoviolence sound. Then there's the minimalist emo sound. In between those you have bands that wrap post-hardcore up in dissonant/mathy mayhem and those who mix atmospheric black metal with shoegaze, like Virginia's Infant Island. 

Their self-titled album was released in 2018 and was their first full-length. Initially released on vinyl via Conditions Records, Dingleberry Records and Middle-Man Records, as well as a limited tape run via Zegema Beach Records, it was later picked up for a European tape release via Left Hand Label, featuring the bonus track 'Where There Is Ruin', which was previously unreleased.

Time may be immemorial but in the present it’s going way too fast. It’s the ‘Small Differences’ that make the biggest impact right now, so being able to find a moment to sit and enjoy some music is very much needed. I’ve admired and appreciated Infant Island’s music for a long time now, especially thanks to labels like ZBR and Left Hand Label, whom I was able to purchase a copy of the band’s self-tilted album from on tape. 

The aforementioned opening song is the best of both post-hardcore and post-metal, especially thanks to Infant Island’s atmospheric blackened tones. Atmosphere doesn’t really come in to it though on ‘Replenish’, which kicks straight off with loud harsh vocals and equally to-the-point instrumentation. The song’s latter half takes a different turn with introspective vocal melodies and gentler musicianship.

That gentler approach flows into ‘Broken Pieces’ and with it, a subtle nod towards We Came Out Like Tigers and their collective delivery. It’s a majestic song that marries all encompassing guitars and percussion with vocals that sit deeper in the mix at first, before taking centre stage midway through. The dynamics work so well and portray true emotive fragility.

The feeling you get from cathartic, cleansing music is indescribable as it’s very personal but I reckon you could come close to describing it after listening to ‘Fall’. Absolute shout from the rooftops, heart on your sleeve stuff. The brief yet no less intense sound of ‘Diminish’ shows how much black metal influence goes into Infant Island’s music, in perfectly succinct fashion.

The two grandest songs are left till the end, starting with ‘A Preoccupation’ and it’s beautiful instrumental build-up that lasts to nearly it’s half way point. It has a feeling of spaciness even when the harsh vocals are unleashed. ‘Further’ is the longest of the album’s tracks and was the final one on it’s initial release. Almost seven minutes of deliciously layered screamo. 

Within those layers there are a multitude of other instruments too (that may not be immediately noticeable), including violin, cello, celestette, grand piano, bowed glockenspiel and upright piano, as well as added field recordings. All were intricately performed/recorded by Drake Dragone, Grace Howie, Alexander Rudenshiold (also the band’s guitarist/vocalist), Austin O’Rourke and Mark Boulanger. Vocalist Daniel Kost, bassist Kyle Guerra and drummer James Rakestraw make up Infant Island alongside Alexander on this release.

Bonus track ‘Where There Is Ruin’ appeared on the tape reissue by Left Hand Label in early 2019, having been previously unreleased. At the time, Infant Island described it as a precursor to what was to come and there’s a discernible difference in sound for sure. Some of the rawness of the band’s sound has vanished in favour of cleaner melodies and when it does get heavier, it really draws you in.

Infant Island may be on the back burner but their body of music continues to inspire. You may struggle but if you can find a copy of this album in the wild on a physical format, snap it up. It’s still available digitally too though, so why not do both!

You can stream and purchase both the original release as well as Left Hand Label's expanded release digitally below:-

Infant Island - https://www.facebook.com/infantisland

Physical copies are very scarce now but you can find a remaining copy below:-

Dingleberry Records Discogs - https://www.discogs.com/sell/item/

Conditions Records - https://conditionsrecords.bandcamp.com

Dingleberry Records - https://www.facebook.com/p/Dingleberry-records-and-distribution

Middle-Man Records - https://www.facebook.com/middlemanrecords

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords

Left Hand Label - https://www.facebook.com/lefthandlabel

Respire - Denouement

Labels: Belle Époque Publishing/Dingleberry Records/Left Hand Label/Middle-Man Records/Narshardaa Records/Self-Released/Zegema Beach Records

Formats: Vinyl/CDr/Tape/Digital

Release Date: 01 May 2018

Tracklist:

1. Bound

2. Haunt

3. Shiver

4. Bloom

5. Catacombs

6. Virtue

7. A Heart Still Pines

8. Denouement

It's been a while since my last ZBR roster review (aside from the odd recent release), so I'm jumping back down the rabbit hole with Canadian band Respire and their 2018 full-length Denouement. Originally self-released by Respire on digital and CDr formats to coincide with the vinyl release from Dingleberry, Middle-Man, Narshardaa and ZBR; it also saw later tape pressings from Belle Époque Publishing and Left Hand Label that same year (with LHL also releasing an instrumental accompaniment tape called Memorial at the same time). In terms of album timelines, it sits between Gravity And Grace and Black Line for those unfamiliar. Respire blends post-hardcore, post-metal, shoegaze, black metal and more together with help from countless talented friends/musicians.

Today has felt like a real breath of fresh air as the preceding days and previous week have been hard work-wise. Having the mental energy to write again is freeing and Respire are my inspiration. ‘Bound’ is the expansive, cathartic opener I was hoping for. A genuine mix of melody from multiple instruments, heaviness from blasting percussion and equally dissonant guitars, and raw emotion from on-point vocals. These seven+ minutes are instrumentally superb and you really get a sense of the whole Respire family when the clean singing fills the speakers. The welcoming Celtic influence added by the violin/viola playing will remind you of bands like Dawn Ray’d and Morrow, which is cool as well.

‘Haunt’ creeps up on you with a less urgent sound initially before the majesty of Respire’s black metal and orchestral might come together to raise the heartbeat a few notches. It’s ending is abrupt end leads straight into ‘Shiver’, which is the most obvious ode to black metal on Denouement so far. Obviously, that’s not the only facet to Respire’s sound but it is more prevalent here in parts. When it settles, classical symphony-like instrumentation takes hold and creates a totally different atmosphere altogether. 

As ‘Bloom’ plays, the pattern of songs getting shorter in length continues. Song lengths ultimately mean very little when you’re truly immersed in an album and the sheer beauty of this song proves that point. Again melody is king and it leads you serenely into the second-half of the album. Screamo/emo makes ‘Catacombs’ a totally different proposition but one that’s absolutely fine. It shows Respire’s ability to be sensitive and write with even more variation than they already have on this album so far. The way they up the tempo before a crescendo of black metal and post-metal guitars close it out works brilliantly too.

The sample that opens ‘Virtue’ is somewhat unnerving and while that feeling doesn’t translate in the music that follows, it resonates in your head. From that initial place of darkness light grows, becoming more visible and sensory as the all encompassing instrumental layers build. From the sublime to the dramatic, ‘A Heart That Pines’ is a short blast of energy that’s given no room to explode. You’ll understand why when you hear it. Ending with the title track ‘Denouement’. the soothingly delivered Saxophone takes centre stage amidst an instrumental song that closes out an album that should be heralded as the GOAT. 

I don’t know what else to say about this. I’m sure that many people who read this will already be familiar with Denouement but if not, you’re missing out. It’s so hard to keep up with the myriad of releases being thrust into your ears every day now, but there’s nothing wrong with taking some time out to appreciate what’s come before. This is a banger and it will forever be one.

You can stream and purchase the album digitally from Respire below:-

Respire - https://www.facebook.com/respirefamily

Physical copies can still be purchased from the labels below:-

Left Hand Label - https://dogknightsproductions.com/collections/left-hand-label

Middle-Man Records - https://middlemanrecords.storenvy.com

Narshardaa Records - https://narshardaa.bigcartel.com

Dingleberry Records - https://www.facebook.com/Dingleberryrecordsanddistribution

Left Hand Label - https://www.facebook.com/lefthandlabel

Middle-Man Records - https://www.facebook.com/middlemanrecords

Narshardaa Records - https://www.facebook.com/Narshardaarecords

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords

Lunation Fall - Stellar Frequencies Sessions #1

Labels: Stellar Frequencies

Formats: Vinyl/Digital

Release Date: 23 Oct 2021

Tracklist:

1. Intro (Live Session)

2. Precious Time (Live Session)

3. Mydriasis (Live Session)

In mid-2021, French label Stellar Frequencies kicked off their first live session, playing host to fellow French shoegaze band Lunation Fall. That live session featured three songs and was recorded for Youtube, alongside accompanying audio that was published digitally and in the form of  limited lathe cut vinyl (15 copies in all). This session features two songs from Lunation Fall's debut album Near that was released in April of last year.

Live music brings out so many emotions and while not being present in the room to witness this short session, the recording of it still invokes that same feeling. The noise-laden ‘Intro’ provides a lot of anticipation and intrigue before Lunation Fall change tack on ‘Precious Time’. Their dreamy pop-sensibilities cross paths with lazy indie/shoegaze to create a sound that’s pleasant on the ear yet also slightly gritty as well, at least in atmosphere.

Their final live song ‘Mydriasis’ is longer but it also throws up some surprises in the vocal department, as Lunation Fall are made up of more than one very competent singer. Musically, they’re very melodic with the main story being told be the guitar work, as sensitive bass and percussion nestle behind. This song has less of a shoegaze feel to it, though the lengthy instrumental passages still allow you the chance to get lost in a day dream.

This is my first introduction to both Stellar Frequencies and to Lunation Fall. I think it’s a great one too. Many of the bands that we discover in our lives are discovered in a live setting and capturing these sessions is the perfect way to help unearth inspiring music.

You can stream and purchase the Lunation Fall session as a name-your-price-download below:-

You can also watch the recorded session on YouTube below:-

Lunation Fall - https://www.facebook.com/lunationfall

Stellar Frequencies - https://www.facebook.com/lunationfall

Now the Stellar Frequencies Bandcamp page might say that they've sold out of Lathe Copies, but their website says otherwise, so try you luck here - https://stellarfrequencies.com/produit/lunation-fall-stellar-frequencies-sessions-lathe-cut/ (but please save a copy for me!).

Sarin - Darker Lakes

Labels: Arkan Records/Dead Punx Records/Dingleberry Records/R.I.P In Peace Records/Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 25 Jul 2017

Tarcklist:

1. Ice Wrought

2. Amber Guide

3. Darker Lakes I: Moraine

4. Embers Circling Downwards

5. Darker Lakes II: Crater

6. Bloom

7. Ocean Burn

8. Darker Lakes III: Glacial

9. Low Moon

It seems that I'm (unconsciously) focusing on Canadian bands right now. I mean Schedule 1, Terry Green and Seven Nines And Tens all come from Canada (three out of the last five bands I've reviewed, if I'm correct!). Make that four out of the last six with Toronto, Ontario's Sarin. This is also the latest in my ZBR roster review series and focuses on their 2017 full-length Darker Lakes, which turned out to be the last before they went on to work with Prosthetic Records, though ZBR's sister label Tomb Tree did release their follow-up You Can't Go Back on tape in 2021, the same year it was released via Prosthetic on LP/CD.

Somebody needs to update Sarin’s Discogs entry for this release, as it says there are only six track on the record when there are nine. I guess whoever wrote it ignored their ‘Darker Lakes’ trilogy here. Sarin are a self-proclaimed doomgaze/shoegaze band, which are also sub-genres that I’ve been delving into recently. Album opener ‘Ice Wrought’ is a very grandiose song, with mountains of riffs, lingering feedback and dramatic percussion. The mix of clean and harsh vocals compliment each other perfectly and help to open up the album even at this early stage. 

On ‘Amber Guide’, you’re whisked off to a dreamy island at first before reality comes crashing back down again in the form of truly crushing dissonance. It’s way more doom-like when the heaviness kicks in but it’s punctuated for large passages by more gentle instrumentation. The vocals sit deeper within the harsh parts, making it a song of true twists, turns and introspection. 

The first of the album’s ‘Darker Lakes’ trilogy comes in the form of ‘I: Moraine’ and it’s a haunting instrumental complete with whispered, unnerving vocal tones. It breaks up album but doesn’t break up the mood at all. Sarin has garnered a lot of praise for this album and it’s easy to see why. As a band, they’re not afraid to step out of the shadows to create music that crosses over into more mainstream alternative echelons. You might get a sense of that on ‘Embers Circling Downwards’ (despite my attempt at using more words than were needed in the previous sentence). Either way, what is true is just how good it sounds.

‘II: Crater’ is the second of the ‘Darker Lakes’ trilogy and once again in proves to be fraught with danger as it’s bass-heavy, sample-laden tones ring out and guide you into ‘Bloom’, which signals the album’s second half. As it started, it continues with clean vocals and a distant, almost grunge-like atmosphere. No gloom though, just waves of sound that herald a slower burning side to Sarin. Rhythmically on point and led by a rumbling low-end, it promises no safe haven while still inviting you into the sheltered bay with it’s siren song. 

You get a feel that the album is coming to a close with ‘Ocean Burn’ but don’t be fooled, it’s a long way from over yet. The spacial atmosphere of the song looms large as the layers build and the anticipation fizzes along with Sarin’s post-metal majesty. The final part of the ‘Darker Lakes’ trilogy, ‘III: Glacial’, feels just that. Not cold in any way but truly expansive and awe inspiring for such a short song, as it leads into album closer ‘Low Moon’.

Ending with a ten+ minute number is genius because it allows you to cling onto Sarin’s beauty for a little longer than you otherwise might have. I realise that this review has turned into a bit of a mammoth read, but I regret nothing. Music (and writing about it here) are the only things truly sustaining my interest right now (aside from my family and friends of course). Overall, ‘Low Moon’ mainly exists in instrumental form, with sporadically used vocals. That’s perfectly fine as it allows their breadth of song-writing skill to really shine through.

Five years may have passed since this release but it still stands up hella well today and deserves all of the praise it gets. Sarin may have fallen off people’s radars recently but I hope that this review might draw people back to them. Fantastic from beginning to end!

You can stream and purchase Darker Lakes digitally from Sarin below:-

Physical copies are still available from the labels below:-

R.I.P In Peace Records - https://ripinpeacerecords.storenvy.com/

Zegema Beach Records USA Store - https://zbrusa.com/collections/zbr-releases/products/sarin-darker-lakes-12

Arkan Records - https://www.facebook.com/arkanrecords/

Dead Punx Records - https://www.facebook.com/deadpunxrecords

Dingleberry Records and Distribution - https://www.facebook.com/

R.I.P In Peace Records - https://www.facebook.com/r.i.p.inpeacerecords

Zegema Beach Records - https://www.facebook.com/zegemabeachrecords

Seven Nines And Tens - Over Opiated In A Forest Of Whispering Speakers

Labels: Willowtip Records

Formats: CD/Digital

Release Date: 07 Jan 2022

Tracklist:

1. Popular Delusions

2. Throwing Rocks At Mediocrity

3. Midnight Marauders

4. Let's Enjoy The Aimless Days While We Can

5. Edutainment

6. Fight For Your Right To Partial Relevance

7. Sunshine

In January, Canadian progressive/post-metal band Seven Nines And Tens released their latest (and third full-length) Over Opiated In A Forest Of Whispering Speakers via forward-thinking label Willowtip Records, whom they have been signed to since 2020. This is my first time hearing the band; however, after reading that they've shared the stage with the likes of Minus The Bear, Astronoid and Nothing (amongst many others) and having been a band since 2008, I'm looking forward to this greatly.

The discovery of new bands is a constant journey of enjoyment. Granted, Seven Nines And Tens aren’t new in the literal sense, there will be people who are only just discovering them (like me). Album opener ‘Popular Delusions’ is filled with fuzz-laden instrumentation and glorious vocal harmonies, as well progressive blues-like flourishes and tasteful percussion. There are so many familiar elements to the trio’s sound, yet everything feels fresh and new at the same time. Hearing the initial bars of ‘Throwing Rocks At Mediocrity’  reminds me of the band American Football, at least before the music gets heavier that is! Even when it does get heavier though, it’s not totally dissonant and the soothing vocals sit nicely amongst the instrumentation and don’t get overpowered by it.

‘Midnight Marauders’ is a slower-paced song with shoegaze at it’s core. As such, it’s really listenable. There’s a sense that this album could elevate Seven Nines And Tens beyond the metal underground (so to speak). They certainly deserve to heard by a much greater audience; for example, they would sit comfortably alongside Muse and Pink Floyd (which is apt, because the cover for this album was created by Ahmed Emad Eldin, who also created the cover for Pink Floyd’s Endless River in 2016). 

They grow in a more experimental direction on ‘Let’s Enjoy The Aimless Days While We Can’ with the use of different time-signatures, stop/start passages and brilliantly layered instrumentation. It flies by in no time all in spite of it’s five minute+ length. One thing I haven’t mentioned enough of yet is how good the bass guitar is on the album. You can hear it more clearly on ‘Edutainment’, where it’s bluesy/jazz-like tones really add warmth to an already warm and dramatic song.

That rhythm when the first verse of ‘Fight For Your Right To Partial Relevance’ kicks in is unexpected, given how heavy the intro is. It carries on in much the same vein with the up-beat verses being punctuated by much heavier passages and off-kilter transitions too. Because of this, it’s very much the heaviest song on Over Opiated…. Closing song ‘Sunshine’ is poignant and with a hip-hop like percussive performance as well. It’s the most bizarre song on the album with all kinds of instrumental effects, time-signatures and styles present. That’s what Seven Nines And Tens are so hard to classify.

Overall, this album blew me away. I didn’t know what to expect but it’s been a fantastic listen throughout, As I mentioned above, Seven Nines And Tens deserve greater recognition for their music and here’s hoping more people catch on in the near future. Truly excellent. 

You can stream Over Opiated... and purchase it on all formats below:-

Seven Nines And Tens - https://www.facebook.com/sevenninesandtens

Willowtip Records - https://www.facebook.com/willow