When Abandon the Fall appeared on our radar in 2019, we knew they’d be one to watch. Their latest EP may come without lyrics, but there has been no compromise to the evocatively charged nature of their Alt Rock soundscapes.
‘October Sky’ is just one of the progressive art-rock singles to feature on the 4-track release that will take you on a journey of the psyche as you follow the morosely-tinged melodies through their cutting progressions which leave trails of shimmering echo and reverb behind.
With over-driven guitars and coalescing with darkwave electronica, October Sky will hold plenty of appeal to any fans of 65daysofstatic and This Will Destroy You.
October Sky is now available to stream along with the rest of Abandon the Fall’s Infinite Seasons EP via Spotify.
When we reviewed Abandon The Fall’s ‘Enemy’ single back in August 2018, Amelia Vandergast likened them to Linkin Park’s ‘Hybrid Theory’, saying ‘the vocals are stripped back and left emotionally bare around the resounding instrumentals’. In the case of ‘Memories’, from new EP ‘Infinite Seasons’, Abandon The Fall have taken that a step further and provided an instrumental track bereft of vocals altogether. It’s not, however, bereft of power or melancholy, that same electronic-meets-metal vibe that was there on the debut coming through across the track. There’s definitely that Linkin Park feel at times, but with thundering kick drums aplenty behind the shimmering, echoey guitars, there’s touches of Enter Shikari and 30 Seconds To Mars in here too. It’s a potent, powerful track with no loss of emotiveness from its instrumental-only nature.
You can hear ‘Memories’ on Spotify; check out Abandon The Fall on Facebook.
Moscow-hailing Bay-Area-residing artist, IGGYC, has recently released their latest darkly theatrical progressive post-rock single ‘Thoughts’ which allows sonic symphonic rock to meld with 00s emo and cataclysmic increments of hard rock.
Starting with a piano-led prelude, Thoughts gently eases you into the raw embittered soundscape which quickly amasses momentum until you’re in the midst of a fervent whirlwind that carries frenetic reminiscences to the likes of Dir En Grey. IGGYC delivered so much more than a senselessly momentous release, expect your heartstrings to get caught in the wrenching choruses which carry the same weight as the entirety of MCR’s Black Parade album – all in the space of 4:29-minutes.
Mute Sounds’ 2020 EP ‘Roads’ totally defies the notion of genre. It is far easier to define the progressively cinematic release in terms of sheer originality. But if you could imagine what it would sound like if Hans Zimmer teamed up with Motorhead, you’ll get an idea of what is in store.
The standout track ‘Broken Pieces’ is the perfect introduction to the artist’s experimental expression. Over-driven guitars gnaw away at the accordance in the panoramically evocative release between increments of evocative neo-classic keys, making Broken Pieces an all-consuming reflection of chaotic duality.
Mute Sounds is the project of multi-instrumentalist and songwriter, Rui Pedro, who permanently lost their voice after their second battle with severe throat cancer at the age of 28. They say that when one sense is lost, another strengthens, on the basis of Broken Pieces, that can also be said about methods of communication.
You can delve into Mute Sounds’ experimentalism yourselves by heading over to Spotify.
Blending 90’s/00’s alt-pop/punk with some tidy guitar work and pushing, urgent drums comes ‘Liplock’, the debut single from Stopnowstartagain; swamped in overdriven, distorted guitar, the track takes its cues from the guitar-led indie of Dinosaur Jr., Husker Du, and Bob Mould’s follow-up project Sugar, all vocal harmonies and catchy pop sensibilities over Superfuzz pedals and Tube Screamers delivered into the front end of cooking amps.
It works, too – catchy pop-rock vocals, chiming picked single-note guitar lines, and those layered swathes of distortion; it’s one of those sounds you didn’t realise how much you missed until you heard it all over again; I’m gonna go and dig out ‘Bug’, ‘Green Mind’, ‘Copper Blue’, or ‘Beaster’ now, too. Cracking stuff.
When the prelude to a previously unheard track demands maximum volume, you know you’ve just stumbled across a gem, which is exactly what happened when we dove into the cataclysmically superlative single ‘Ghost Trap’ by Alt-Rock artist Quentel the Cryptid.
Fans of the darker side of the Alt 90s sound will definitely want to indulge in Ghost Trap which offers the same atmospheric effects as Cradle of Filth, the same progressive momentum as Porcupine Tree and vocals carrying the cutting reminiscence of Brian Molko. But that isn’t where the dynamism ends, the heavy use of psychedelically-laced synths allowed Quentel the Cryptid to well and truly stamp down their ensnaring sonic signature sound in Ghost Track.
It’s an obsession worthy track from the first hit.
You can check out the official video to Ghost Trap for yourselves by heading over to YouTube.
It was only a matter of time until an alt-rock artist simultaneously exuding influence from Sigur Ros and At the Drive caught our distinction-seeking-attention. The latest progressive post-rock hit ‘an offering.’ from ourfarthers. has left us ensnared.
Admitting that tracks by emo artists appease your angsty soul may be met with all manner of snobby pretension from insufferable aficionados, but an offering. isn’t a track easily torn apart. Maturity can be hard to find in tracks which deliver burning unbridled emotion, but discernibly, an offering. is the needle in the evocative haystack.
With quiescently melodic increments sidled next to rip-roaring breakdowns when all restraint is thrown away with visceral abandon in sonically anthemic style, an offering. is enough to make your soul quiver.
an offering. is available to stream and download via Bandcamp.
If prizes were handed out for the most conceptually evocative release of 2020, it would go to Croatian Experimental Post Rock artist, heyiloveyou, for their 2-track EP ‘Everybody’s Got 2 Sides’.
It’s a nuanced nod to the multi-faceted nature of our personalities with Side One a depiction of melancholy-tinged contemplation and side two an experimental electronic rock traversing of intensely urgent despair. When I say ‘experimental’, I mean Fantomas-level experimental with caustic noise replacing lyrics but saying all that there is to say all the same.
With Okay, the artist paid ode to the agony of being told that you no longer matter through silence instead of words. The experimentally ambient track drives you through the sweaty shaky trepidation of realising that the love which held you together is being withdrawn to the tune of voicemail answering messages.
Needless to say, we’re all too excited to hear what kind of subversive alchemy heyiloveyou serves up next.
You can check out the latest release from heyiloveyou by heading over to Bandcamp.
Anthemic American Rock, Darkwave Electronica, Indie and Rap all collide in JKR’s phenomenal single ‘Disaster’. If it has been a while since you’ve felt any discernible emotion, hit play and feel the evocative weight of this relentlessly progressive feat of aural dynamism.
Disaster is just one of the singles to feature on the Seattle-born, China-residing artist’s 2020 genre-obliterating album ‘Star Crossed’. The soaring vocal hooks combined with the sonically cutting reverb-laden guitars ensure that listening to this track half-heartedly isn’t an option.
JKR’s ability to orchestrate tracks which carry as much appeal to fans Soul Asylum to fans of Linkin Park will undoubtedly stand him in good stead. He’s undoubtedly one to watch.
You can check out Disaster for yourselves by heading over to SoundCloud.
Kicking off with a beautifully overdriven, edge-of-break-up Tube Screamer-esque guitar tone and kicking drums, Godzukey’s ‘Alibi’ is a proper old-school grungy rock track, all laconic vocals and doomy, portentous bass and guitars. There’s an occasional hint at Mudhoney in the voicing of the fuzzed-up repeating guitar motif, some gentle nods to early Pearl Jam or Mother Love Bone, and a serious bit of guitar-hero shredding from Conrad Bylsma on the playout solo from around 3’30”. Singer/songwriter Jonas Briggs has a perfect early Foo Fighters/Nirvana/Alice In Chains vibe going on around the vocal delivery, but it should be said loudly and clearly: this isn’t simply a retro-reworking of Seattle’s great and good.
There’s a freshness here, too, a contemporary take on that West Coast sound which presumably comes from the creative kick of new connections and neoteric projects. Briggs and Bylsma reconnected to form Godzukey recently, after years of not playing together, recording the EP from which ‘Alibi’ is taken from the ‘music Briggs was carrying around in his head’, and that novel vibrancy comes through in the rawness of the track’s delivery. In Godzukey Portland, Oregon, might just have spawned a new baby monster.