On August 26, German based MIGHT will be releasing their second album titled Abyss, but today we’re excited to bring you their second video from that release, “Shrine.” As their previous release showed this band to be incredibly explosive, this track substantially builds on that. Nine Circles is proud to unveil this video premiere immediately below.
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Sometimes it’s all about refinement. You take a thing, you make something of it and the people take a look and say, “yeah, that’s it!” But you know it’s not, and if you can just whittle a little more away from the body you know you’ll see it. You try again, and some folks look and say “Eh, that’s not what I thought it was going to be.” Still others come by and exclaim “yeah, that’s IT!” But you know there’s more to pare away. Astronoid have been at this sonic whittling session since 2012, and on their third full length Radiant Bloom the quartet have further sliced away more of the abrasive, metallic bits. What is left is still recognizable as Astronoid (it really couldn’t be anything else), but honed to a point where I think the band can sit back and marvel at the sonic sculpture they’ve exposed, even if it’s only until a further turn unearths another form the band wishes to explore.
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Hey, wasn’t I just saying that I’m really interested in how countries and landscapes shape the people who live in them and, thus, the music that is created there? While Norway might not be a new country for me to check off my list, I always find it interesting that there is something intangible that ties all genres of music from a particular place to that place, whether it’s death metal or jazz or electronic music or whatever you like. In the case of Marius Leirånes, that place is a very specific one, and the stories told on Langtidsperspektiv are the stories of what has shaped him to this day and how that home has played a part in it all.
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I haven’t spoken much about it in this column, but 2021 has kind of been the year of post-rock for me, at least behind the scenes. Spoiler alert, no less than three of my favorite non-metal albums this year have been post-rock albums and I see no signs of slowing that pace down for the second half of the year. I’ve always had a love for the swirling, haunting and highly textural genre, and one of the relatively unrecognized titans of the scene has been postcards from new zealand, who, with their newest full-length, we watched them devour, vol. 3: city islands, have been cranking out a torrent of great releases to further the genre.
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If you’ve listened to Kauan before, you’ll know that really processing what you’re hearing on a given record of theirs can be a bit of a tricky proposition. Some bands are quick hitters, while others work better in slow-burn settings. Kauan, however, has excelled consistently in both contexts. They strike the listener immediately with immense, sorrowful beauty, but their work is so rich that fully “unlocking” a song or album of theirs on your first listen, or even your fifth, becomes nearly impossible. To truly “get” this band, you need to put the time in — and that remains the case on their latest album, Ice Fleet.
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