Record #959: Holy Fawn – Realms (2015)

When Holy Fawn’s Death Spells made them the It Band of 2019, they were given a lot of praise for being one of the best new bands in the scene.

Problem there is that they weren’t exactly new. In fact, they had released their first album four years prior. But Realms sat in relative obscurity—even as Death Spells gathered them new fans. It sat as a sort of curiosity on their Spotify page, failing to offer the same crushing heaviness as the record we all came for.

However, as their star has continued to rise—thanks to tours with the likes of Thrice and Deafheaven—more and more fans found their way back to their debut. And while it might indeed lack the moments of black metal catharsis they’ve come to be known for, their trademark dazzling atmospheres and lush sonics were already in full bloom.

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Record #953: Lift to Experience – The Texas-Jerusalem Crossroads (2001)

It seems no matter how deep I dig (and boy, do I dig deep sometimes), there’s always some seminal release I’ve missed—even in the exact scenes I’ve been trudging through. Take for example Lift to Experience, whom I had never heard of before a review referred to my own band as “We have Lift to Experience at home” (a favorable comparison, I hope).

I’m constantly fascinated by the points of reference other people have when they hear us, so I checked out this band that we were purportedly ripping off. Truth be told, it seems like the only immediate comparison is our shared devotion to overdriven guitars and reverb pedals. But when I divorced them from the comparison, I found a wonderfully idiosyncratic record that lands directly in that sweet spot between shoegaze and post rock that I love so much—bad hip hop parody artwork aside.

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Record #890: Esben and the Witch – Wash the Sins Not Only the Face (2013)

At this point, I should just ignore my Spotify Daily Mixes. They’re becoming financially ruinous. Almost every time I skim through one, I find something that immediately grabs my attention (see also: Life on Venus, Grivo, Locrian…).

A few weeks ago, I was looking through one of these playlists and was fascinated by the delay-heavy guitar and ethereal alto vocals of “Slow Wave,” so I dug further. What I found was an album that felt like Warpaint had been listening to a lot more goth, post rock, and black metal. Which hit my sensibilities right on the button—which in turn saw me pressing the “order now” button on a copy on Discogs.

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Record #888: Blankenberge – Everything (2021)

Everyone talks about how the internet has made the world smaller, but less attention has been given to how it has expanded microcosms into galaxies. Microgenres have become scenes unto themselves, with legions of bands offering sonic homage to a handful of albums.

Where the term “shoegaze” originally referred to a dozen or so bands around London, the sonic explorations they pioneered have created hosts of acolytes making their own pilgrimages through reverb-and-fuzz-drenched guitars. This scene has further bifurcated itself, with further microscenes forming within the context of an already niche genre (see: dreamgaze, heavy shoegaze, blackgaze, doomgaze, dreamo and more).

One of the more fascinating microscenes I’ve discovered is the Russian shoegaze scene, which is comprised of bands like Life on Venus, Pinkshinyultrablast, and Blankenberge, whose album Everything is quickly becoming a favorite of mine.

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Record #867: BRUIT≤ – The Machine is burning and now everyone knows it can happen again (2021)

As a post rock fan, I’ve heard a lot of my fellow fans complaining the last several years about how there aren’t any good post rock albums coming out. I have generally dismissed this as your typical “old man yells at cloud” grumpiness. After all, there’s been tons of recent post rock that I’ve absolutely loved.

But then, I heard The Machine is burning and now everyone knows it can happen again by French post rock/modern classical quartet BRUIT≤ (French for “noise”). This record is so great that for a second, I understood what they might have been talking about.

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Record #844: caroline – caroline (2022)

There’s a phrase that gets tossed around sometimes: strange beast. And for the life of me, I can’t think of a better description of this record.

It’s as approachable as it is esoteric, as subdued as it is grandiose, as domestic as it is wild, as patient as it is frantic. It feels almost like a big huge fluffy bear-like beast that you want to snuggle up to, even though you know it might rip your head off.

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