POST ROCK/MATH ROCK

Lyrically, they're probably not among my favourite bands yet, but the music here is incredible. The opener Chaos Space Marine would probably give you the wrong idea of what you're in for, but it's a fantastic indie rock anthem. Good Will Hunting seems to put off a lot of people with its "Billie Eilish" lyric, but I don't mind it much and adore the riffs and melodies on the track. Isaac Wood's vocals are possibly my favourite thing about the album, fragile yet passionate and distinctive.

I'm always wondering what makes BC,NR stand out from other similar acts, but since I heard this, I had little doubt that it's a modern classic. Maybe it's how incredibly cathartic the build-ups and climaxes feel on this record, maybe the outstanding arrangements with saxophones and strings. Either way, it's one of the best albums of the decade yet, and the last three tracks are unbelievably good. The moment when the drums stop on Snow Globes might be the most beautiful moment in 2022 music next to Richard Dawson's The Hermit, The Place Where He Inserted the Blade is one of the most addictive tracks of the year. Basketball Shoes is a perfect closer to a stunning record.

4.0

However, it seems like we got the glow up of the century with their recent studio workout of Forever Howlong, and honestly?yeah this is a massive improvement compared to their last two records for me.

The line-up changed quite a bit, specifically with the new lead singers of Georgia Ellery, Tyler Hyde, and May Kershaw. They have been in the band before as backing vocalists, but now they're in the forefront, and honestly they really brighten this album up. They're all really amazing vocalists to me, and they capture the energy and spirit of this new direction for BCNR so well. I don't quite know who's who, so I cannot really say who my favorite is, but they all do a really great job so even if I did know who's voice is who's, I'd still have a hard time deciding.

But obviously the real meat and potatoes is the musical change, as they basically moved far, far away from post rock, and head dive straight into chamber and baroque pop.

If there is something I could commend the band for in the past, it would be that they could make really stellar pop music when they did get poppy. So, honestly, when I first heard Besties and realized they would go into a pop direction, I was honestly excited, though cautious because of my dislike of Ants From Up There. Luckily, they focus primarily on pop, and in doing so create a very rich and jovial sound that I really adore. This might be probably the strongest pop record I heard this year. The mix of pop and folk music create an energy that's uniquely theirs, with a great baroque sensibility that's not too far off from classic bands of the 60s like The Moody Blues and Sagittarius.

It all culminates in a sound that is certainly new, but doesn't take away the feelings that BCNR has carried since For The First Time. In fact, I'd say this direction is probably a healthy one, as they sound much happier and freeform compared to the past, but they still keep what made them special for so many people alive in some shape or form. Everything in the music, especially on tracks like Besties, Two Horses, Happy Birthday, For the Cold Country, and Goodbye (Don't Tell Me), has this energy that cannot compare to their older works, yet has the spirit of them, and such makes me so happy that they decided to go in this direction.

I do have one complaint though, and that's, while I may have not liked their post rock sound in the past, I do think it would be kind of neat if they had at least one post rock moment on here, like make one of the tracks a bit longer and have a moment that's kinda reminiscent of some songs off of For The First Time or Ants From Up There. In this new pop direction, I bet they could really make it work well. It might make this album the quintessential BCNR record-I mean it is for me but it would be more so for the diehard fans. Just feel like it's one missed opportunity in a sea of great opportunities.

I was super, super surprised with how much I loved this album. I thought BCNR would just be one of those bands I would never get into, but they clearly proved me wrong in the best ways possible. While Forever Howlong isn't perfect by any means, I think it has so many great moments and songs that it's hard for me to at least not find it pretty good at worst, and at best, an amazing baroque and chamber pop journey through the English countryside. Most certainly a must listen in my humble opinion, and I really do hope they keep up this direction in the future. They finally did it, they made an album I like!

Best tracks: Besties, Two Horses, Happy Birthday, For the Cold Country, Goodbye (Don't Tell Me)

Worst track: N/A

Forsqueak is an instrumental post rock group from Palermo featuring Bruno Pitruzzella, Sergio Schifano, Luca La Russa and Simon Sfameli. They released their debut in 2013 and their follow-up FSK in 2017, both on Almendra Records, an artist-run label also from Palermo. They mention influences as diverse as Battles, Mogwai, and Robert Wyatt. Forsqueak is a unique and modern improvisational group that reminded me at first of stuff like '80s Crimson and Summers-Fripp, mathematical and exploratory for sure, but also with a streak of jamming alt-pop/rock elements one might expect from The Police or even The Pixies. They also have an edge of avant-jazz at times.

It's very interesting how their repetitive guitar lines unfold back and forth over each other, different lines going different places, but then eventually the rhythms and melodies meet back up, seemingly by chance. The guitar lines dance with each other. This band is more direct and to-the-point than many of those dreamier post rock bands who float along serenely, but there are some lighthearted, quirky passages. So as you can see, they're a bit all-over-the-map with their sound, which is the point! This is a good album and they have excellent chops, but I'm afraid I appreciate their sound more than I love it.

5.0

Hesse Kassel is another Chilean band that released its debut in 2025, alongside Chercan. They bring a splash of color to the often repetitive sounds of some progressive bands, offering freshness and a high level of musicianship. Hesse Kassel is a hard-to-classify group and a source of pride for Diego Portales University. Formed in Santiago in late 2022, the band consists of six members: Renatto Olivares (guitar, saxophone, vocals), Luca Cosignani (guitar, vocals), Mauricio Rosas (guitar), Matthew Hopper (bass), Eduardo Padilla (drums), and Joaqu'n Gonz'lez (keyboards, backing vocals).

A big part of what makes this band special is Renatto Olivares. His vocals are stunning'emotional, raw, and dynamic'often shifting between tenderness and intensity with natural ease. His guitar work is just as vital, cutting through or weaving into the mix exactly when needed. And when the saxophone appears, it's not just a novelty'it's perfectly placed and tastefully arranged, adding texture and depth without ever feeling forced. His versatility gives the band much of its emotional and sonic range, and his presence is felt on nearly every track.

Their debut album, La Brea, has received critical acclaim for its ambitious and emotionally charged compositions. It features eight expansive tracks'including 'Postparto,' 'Anova,' and 'Yo La Tengo'' marked by dynamic structures that move from discordant tension to euphoric release. The lyrics use a present, direct tone and explore sensitive themes like sexuality, adolescence, love, poverty, and identity. The production isn't perfect, but it fits the music well and contributes to the album's overall feel. The cover art is intriguing, beautiful, and mysterious'much like the music itself.

I never expected a clash of two Chilean bands at such a high level, much less that I'd be writing about them. Chile is a complicated country when it comes to music. It's not hard to record an album here'but it's hard to get noticed, especially if you're not making urban music, trap, cumbia, or reggaet'n. That's why I think what these guys are doing is truly commendable and deserves more exposure and recognition.

La Brea is a weird album, in the best sense of the word. It never lets you get fully comfortable, even in its most comforting moments. And that's a strength. It achieves something rare: it moves from lament to rage to peace, evoking a wide range of sensations through intricate musical work. It reminds me of many things, but I don't feel the need to classify or categorize it. If I had to name a reference, I'd point to 'Viva Chile! (1986), the debut masterpiece by Chilean legends Electrodom'sticos'just to give you a rough idea. At times, the band also approaches the monumental scale of Swans' The Seer (2012). That comparison isn't made lightly'it's just to help you imagine the intensity and ambition at play.

The album opens with 'Postparto,' a tense, mantra-like piece that sets the emotional tone. 'Anova' follows with ambient textures and sharp social commentary. 'Americana' stands out for its improvisation and shifting intensity. 'En Tiempo Muerto' leans toward jazz, with brilliant guitar work. 'Moussa' showcases the band's full power, moving between chaos and calm. 'Vida en Terranova' is cryptic and emotional, ending with an open wound. 'A. Latur' blends jazz fusion and folk, while 'Yo La Tengo' closes the album with raw emotional weight'it's the loosest track structurally, but also one of the most powerful.

This is an amazing record. Not perfect, but great. Possibly one of the best albums released this year. It's not for everyone'it's challenging, complex, and deeply emotional. But if you're into avant-garde, post-metal, dissonance, or just music that pushes boundaries, this is worth your time. I may be biased, but even so, La Brea stands out as an extremely interesting and important addition to any serious music collection.

"Leviathan" opens with expansive, explosive, and invasive post-rock; strong and heavy with a destructive drum pad. "King of Sea" offers an aquatic journey, an airy and ambient symbiosis reminiscent of the band's archaic early days. Jazzy piano and drums create an intimate, rising track, like a gentle, rogue wave. "White Angels" has an ambient crescendo with its solemn ascent to the Heavens. Warm choirs, pounding drums, and crystalline piano, reverberating, emphatic, and overwhelming. "Life" with cello, a nostalgic, Floyd-esque tune and its children's choirs, captivating with the final melancholic violin reinforcing the atmosphere. "Blackstar" is more intimate with its latent piano; spatial sounds to soar high and never return; with a final vibration worthy of a movie soundtrack à la "Interstellar." "Last Paradise" with its Kwoon-esque rise, metronomic percussion over a captivating sound of an apocalyptic world.

"Jayne" with its very Pendragon-esque, Floyd-esque title and prominent vocals; the killer melody, fitting the story of a Wild West in decline. The memorable rise of a showcase concert with chills from the dreamlike side it emanates. "Wolves" stands out for its Daft Punk-esque electro, a soundtrack to "Tron" with melancholic strings reinforcing the irremediably sad air. "Youth" with its warm, catchy title, most closely resembling the classic Sigur Rós universe for its relentless monolithic sound. A long and slow post-prog rise. "Fisherman" in the same framework, the same vein, the same post wave with more vocals. "Nestadio" for the long, haunting title, a worthy representation of what post can still be today: simple, dreamlike, hypnotic, easy, captivating, expansive like the Universe; long, fluid, perfect with the dark outro. "Keep on Dreaming" for the final flight with strings, choirs, percussion and typical post guitar. The captivating sound oozing emotion.

Dick Hudson is a group of longtime friends from Messina, and Bolo is their debut recording. They describe the concept as follows: "Every track is a soundtrack to a trip. The title track BOLO is a three-part suite were we follow a piece of bread in its fantastic journey through the human body." So they do have a sense of humor. Musically this is definitely heavy and dense math rock instrumental music. It rarely lets up from a frantic pace that pushes hard, exploring different nooks and crannies. The mood of the music is slightly to the darker side, aggressive, industrial, gritty, at times even Crimsonesque. One of their main goals when they began recording was to make a very live-sounding album, so they self-produced to have total sound control, and they recorded always in the same room with no headphones and very few overdubs. All of the attention to detail worked swimmingly because this is one ferociously live-sounding album. Bolo is impressive, and yet the music is something that I appreciate occasionally more than I enjoy frequently. Still, it's certainly one to check out if you enjoy heavy math rock or instrumental rock with plenty of gutpunch. Since this album, three more singles were released through their Bandcamp page in 2018 and 2019. Hopefully this points to a forthcoming second album as these singles sound even more diverse and gonzo than Bolo. Cool band!

1. "God Gets You Back" (6:40) quite a nice song that has a nice little cinematic opening before turning into something that takes us back to about 1990 when bands like Toad The Wet Sprocket, Trashcan Sinatras, The Pale Saints, Lush, Ride, Slowdive, and The Kitchens of Distinction were having their heyday. I can see why many listeners are extolling this as one of their favorite songs from the past year. It is definitely one of my favorites from this (quite unusual) album. (9/10)

2. "Hi Chaos" (5:24) sounds like good ole fashioned Post Rock with a rock construct (ABABCAB) instead of slow-build, cresecendo, dénouement. (8.75/10)

3. "What Kind of Mix is This?" (4:11) an interesting mix of individual instrument sounds that is squeezed into one more ABABCAB construct. (8.75/10)

4. "Fanzine Made Of Flesh" (4:34) some 1980s New Wave in this one makes it sound like late-1970s fledgling New Wave. Pre-New Order New Order (no: not Joy Division; Cure-ish New Order--or perhaps OMD, Modern English, or Echo & The Bunnymen). Kind of cool if this were 1979. (8.875/10)

5. "Pale Vegan Hip Pain" (4:24) this one sounds like classic early 2000s Post Rock from the likes of Mono or Red Sparowes. Decent but rather simple and unsophisticated. (8.75/10)

6. "If You Find this World Bad, You Should See Some of the Others" (7:22) and I thought the previous song was simple and unsophisticated--sounded like early MONO! Little did I know that this was coming next! Really great build up and brain-annihilating crescendo. (Those crashing cymbals are among the loudest I've ever heard.) The long aftermath is a little unusual: a bit like walking around the streets of Hiroshima a year after the bomb. (13.375/15)

7. "18 Volcanoes" (6:18) vocals! And they're pleasant, melodic, and even dream-poppy! Again: not what one might expect from a Post Rock band--more like something from RIDE, SLOWDIVE, or even The Pale Saints. The weird guitar (or synth?) sounds are cool. A top three song for me. (8.875/10)

8. "Hammer Room" (5:16) interchangeable piano and guitar arpeggi are interwoven giving this the feel of something light and upbeat from NORTH SEA RADIO ORCHESTRA or a collaboration between 1970s Brian Eno and early XTC. Or DIF JUZ! Another top three song. (8.875/10)

9. "Lion Rumpus" (3:33) more New Age sounds and melodies driving this one despite the weird industrial screeches and gratings renting the sonic fabric in the second half. (8.75/10)

10. "Fact Boy" (7:02) floaty cutesie stuff meandering around the sonic field while a Crimsoninan Gamelan-like mathematical weave propels the cart along the ribbon of undulating highway. Nice but not enough to make me want to come back. (13.25/15)

Total Time 54:44

While I do love Mogwai's contributions to film and television soundtracks, I do not find the music of this album particularly compelling, innovative, cinematic, or impressive. It's just simpler, more accessible, more melodic, instrumental Post Rock music. A little too down and depressing for me and my tastes--and too diluted and simplistic.

B/four stars; a nice addition of nostalgic New-Wave-oriented Post Rock but by no means a step forward for the sub- genre.