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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Record #842: Chalk Hands – Try Not To Think About Death (2022)

Ever since I’ve discovered that screamo was an actual subgenre and not just what my mom calls any band with screaming (Thrice and Alcest have both bore the term), I’ve found it very difficult to find much screamo that I like. Bands like envy and Boneflower are gorgeous and cathartic in a way that hits me to my core, but most of the pioneers of the genre—Orchid, Saetia, pg.99, et al, have inspired an almost visceral rejection from my ears. As a relatable tweet once said, “scream fans will say, ‘this track is legendary’ then play the absolute worst song you’ve ever heard.”

But every once in a while, something will come out of that scene that blows me away. Don’t Think About Death, the long-awaited debut full length from Brighton UK’s Chalk Hands, definitely uses screamo’s conventions as a sonic center, but it uses that palette to create one of the most moving records I’ve heard yet this year.

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Record #840: Les Discrets – Prédateurs (2017)

For most of their career, Les Discrets has been intrinsically locked with Alcest.

Both projects are pioneers in the blackgaze scene. Les Discrets bandleader Fursy and Alcest mastermind Neige played in the supergroup Amesouers (Neige has also played bass for Les Discrets on certain tours). They even shared drummer Winterhalter—who also played in Amesouers.

But when Winterhalter decided to work full-time with Alcest, Les Discrets was left without a drummer. Instead of try to replace him to write more hard-hitting, epic metal, Fursy decided to use the opportunity to change gears. And while the resulting album is a major change from earlier albums, it maintains the same delicate and beautiful balance between darkness and hope.

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Record #829: Gates – Here and Now (2021)

Sometimes, it feels like I discovered Gates completely on accident.

I had never heard of them when I saw that they were touring with Thrice and La Dispute, two bands I love that sound absolutely nothing like Gates. I was intrigued by Wikipedia’s description of them as a post rock band, but that description clashed with the first few seconds of Parallel Lives, and it took a few other people clamoring about the record for me to revisit it in earnest.

Once I was enraptured by it, I took to searching for anything that gave me the same heart-rending mixture of indie, emo, and, yes, post rock. Their debut record, Bloom & Breathe was fine enough, but it felt far more like a Moving Mountains tribute than the band that would give me one of my favorite records of the last ten years.

So when Here and Now was released, it was one of the fastest instant-buys I can remember. And that paid off. These six songs don’t just satisfy the craving for more music like Parallel Lives—they exceed it.

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