In a style comparable to the grandaddy of post-rock, Godspeed You! Black Emperor, but with an  ambient twist of sonic atmospheres and jazz inflections, A-Sun Amissa explores the progressive world of drones and instrumental intricacy.

The enchanting repetitive nature in the opening of this record is that of minimalistic beauty. Giving these repeated phrases time and space, to breathe and to expand is key; this is headphone music you can sink into. Guitar drones are carefully layered to create a building soundscape and about 5 minutes into ‘Part One’ piano keys and bass clarinet appear as if out of the dark swirling mist, the drones plunge downward and the dynamics become soft. There is a long, intense crescendo from this point onwards, and high-pitched woodwind cry out with avant-garde style harmonic overtones. The atmosphere is dark and mysterious and this slow dynamic rise generates a powerful tension like the sound is a taught elastic band being stretched farther and farther but still has not snapped. Around 15 minutes into the track the sound is overbearing and then everything sinks gradually into the ground until the bass clarinet reverberates through the space into silence.

‘Part Two’ begins with guitar strums and rhythmic percussion, then low drones sweep over from the right side of the stereo field, an eerie and uneasy feeling emerges. Another atmospheric track evolves with real crafting of sound. There is a chaotic exploration of tonal quality in the woodwind parts and the jazz influences are more apparent here. The loud and brash sound disappears with a strings pedal and just before the 13 minute mark the sound has been stripped of its layers. This last section is quiet and melancholic, using mainly strings and piano, and settles us down from our exceptional journey.

You Stood Up For Victory, We Stood Up For Less is a soundscape that comes alive in colour and feeling of emotion. It moves through dynamic lows and highs, explores the intensity of sound, and is a stunning creation of musical intimacy. 

Vasquez, an Edinburgh based trio, describe themselves as makers of ‘action packed instrumental rock’ and they owe their name to Pvt. Vasquez, the kick ass character from James Cameron’s ‘Aliens’. The reference is very clear on their first two EPs, very simply called EP and EP2 - the sound is very… metal and I don’t mean the music genre alone (although Vasquez’s sound leaves no doubt as to where that genre took its name from), I mean literally all kinds of metals you can gather together to make noise with - iron, steel, aluminium, chrome… Pvt. Vasquez’s machine gun is also there, blasting on full speed.

You’d imagine that following the previous EP titles EP426 is their 426th EP - you’d be wrong, it’s their third and it’s definitely their grooviest one to date. What made me jump at the opportunity to review it was one simple recommendation: "They play instrumental math-like post-rock/metal greatness. Lots of Battles influences going there as well". If there is god, he knows how much I love my math-like post-rock greatness and I absolutely adore Battles.

But there is a huge danger in naming such distinctive inspirations…EP426 opens with ‘POW!’, a song with a beautifully rusty intro and that very recognisable groove that indeed immediately brings to mind Mirrored, Battles’ debut album. The tempo is really catchy and makes my feet thump instantly, especially when it picks up after a brief slow down. But then there’s this perfectly timed "WHOA!" and do you know that moment in And So I Watch You From Afar’s ‘Set Guitars To Kill’ at 3:12, when there’s that "WHOO!"? Well, there’s that and I briefly forget about Battles and switch my mind to ASIWYFA.

But the second track, ‘Tiger Shark’, sets me back in the Mirrored mood which continues in ‘Harmonise It’, sparked up by glittering electronica. ’85’ is the ethereal breather, with riffs gently echoing in the distance and the album finishes with ‘Low To Be Heavy’, a track dangerously reminding me of ASIWYFA’s ‘A Little Bit Of Solidarity Goes A Long Way’.

I’m not saying EP426 is not good or that I don’t like it. On the contrary - I actually really do, especially when I’m home alone and can put it on a full volume. The sound is absolutely great - it has that gorgeous guitar roughness cleverly enhanced by electronica. But my initial thought after the first listen was: "It sounds like cut-offs from Mirrored".

The more I listened to it (and I did listen an awful lot), the more influences I found (the obvious And So I Watch You From Afar and Three Trapped Tigers to name another one). I know that influences are not a bad thing, after all we do live in a post-everything world where all has been done before, however if you’re listening to a DIY band and genuinely can’t tell the difference between them and the ones that they took the inspiration from - there’s definitely room for improvement there. On the flipside, Battles managed to create their own unique niche in the world of math music, so sounding exactly like them is a sort of achievement.

Vasquez’s first two EPs are really seriously good, they are more post-metal and lighter on electronica. It’s great to see that they are evolving and looking for new directions. EP426, even though I’m not raving about it because of all the above, is still a solid, enjoyable and well thought through piece of music. It gives me hope that on their debut LP Vasquez will find their own distinctive, bad ass sound worthy of their "Aliens" godmother.

Imagine birds singing, sadistic whispering and creepy childlike vocals chanting a hauntingly catchy tune. When I say the vocals are creepy, I mean very creepy... this 1:26 long introduction would be at home being overplayed over the scariest horror film you have ever seen. It’s a perfect little appetiser for a sludge/psychedelic bombardment from A Sign of Time by Belgian five piece Maudlin.

We’re then thrown into ‘She Whispers Treason’ which has thick sludgy bass in abundance and wonderful soft layers of guitar. The vocals kick in which are a little screamy without being too heavy and there is a wonderful catchy guitar part, which will stick around in your brain for days, think Tool meets a modern day post-metal band. The song breaks down into exhilarating tribal chanting and there is a subtle hint of space rock synths in the background, clever stuff. Another vocalist joins us from beyond the mist too, who is eerily engaging and almost Peter Steele like. There are many little pockets to like about Maudlin’s sound.

My sum total of foreknowledge about this release is it "combines electronic music with classical elements…" And that's good. Sometimes it’s nice to go in cold to a release.

A few years ago there was an Israeli downbeat/chill series called "Life Is..." and this EP by Olekksii immediately took me to the same place, haunting piano melodies, a spacious mix, distant, forlorn emotive states and almost a sense of regret. This is a 'walking home in light rain while dusk turns to night and you examine your life' kind of release.

Overall this is a sparse, clinical record - in a good way. The melodies, harmonies, effects and even the percussion all seem to stay arm's length from you - a forced perspective from which you view the whole. Sometimes the tracks are a little brief, perhaps more vignettes than tracks - but again, it’s an EP.

There are some lovely keyboard sounds on this, with just the right amount of 'glitch' to remind you that it’s not straight classical (if you ignore the obviously NOT classical song structure). Having said that it does need more 'cello. Especially the final track 'Semitone Waltz' - the equal best track for me. I would have loved more 'cello to mimic the sub-bass towards the end of the track - But maybe that's a result of the clinical mix.

I would be very interested in hearing a full album from this person/group/whatever - with the extra time it could provide the basis for some great development in the tracks and overall theme. I like not knowing where it’s from, what the meaning is or why it exists – all too often I find myself falling down an internet tab explosion as I research an act… My ignorance in this instance helped the music evolve on its own.

So - this is a melodic, emotive and yet sparse and cold release. I like the juxtaposition of these conflicting states and think it's done well overall. If you like smooth beats on a Sunday, melancholy on a Tuesday or just something a little different then give this a spin – there are enough layers here to keep you entertained, and it’s definitely not ‘cocktail beats’. Also - excellent cover!

Mage are back with another reason why you should be proud of the British music scene at the moment. Formed in 2010 they've been rumbling forward with crushing riffs and a sound even Kyuss would be proud of. With their second full length, Black Sands definitely has a ballsy rock'n'roll feel, just adding that extra something to the doomy atmosphere this record conjures. Like a breath of clarity in a sweaty biker bar.

Immediately, like within the first 5 seconds, I'd decided I liked this. Being on the hardcore crust/doom bandwagon at the moment it really is refreshing to hear how different something not to distant can sound.

'Cosmic Cruiser X' is a perfect opening track, full of kick, serious riffage, and heavily laden in stoner rock smoke, it sets the tone of the record for the next 35 minutes ideally. The guitar solo towards the end of 'Danse Macabre' keeps the classic rock tones afloat and throws in a little separation between tracks, and gives you time to whip out the air guitar- if you feel so inclined. 'Star Born' is a straight up Sabbath/Slayer hybrid in my opinion, a perfect mid-way point and indicator that these guys have a variety of styles they want to convey and clout your ears with. 'Witch Of The Desert' harks back to the sounds of early Black Sabbath but with a Zakk Wylde-style assault.

Without describing this record track for track, all that's left to say is that these guys are taking an old sound, a sound you'd have thought would have been done to death by now, but have given it new life. I can picture these guys not being out of place on any aggressive music line up- with music like this it fits in amongst so many different things without ever seeming too wildly out of place. So, even if you like primarily doom, or rock, or metal, these guys will slot in nicely and shake things up a bit. If you like your stoner metal and new music, these are guys for you and Black Sands should definitely make its way into your collection.

FFO: Kyuss, Rob Zombie, Black Label Society

Wet Nuns sounds more like a sordid passtime than a couple of lads from Leeds making ballsy stoner punk songs, but there you go! Broken Teeth is a solid EP with four beefy tracks that will see you through til lunch quite nicely. It also racks up a neat play-time, so you won't be finishing this and feeling unsatisfied.

Reminiscent of He Is Legend, you may feel like you've heard these songs somewhere before, but with a sludgier, lo-fi, couch-party-anthem vibe and catchy-as opening/title track, you can't really complain. Just crack open a beer (or non-alcoholic beverage if you prefer), kick back and enjoy.

Perhaps a little samey throughout, I'd like to hear a bit more variety just to spice things up a tad more, but I guess that will come in on future releases. Positive foot-tappers and head-nodders abound, if you're a fan of modern, heavy, blues-rock, then I'm pretty sure this is for you.

Definitely worth checking out this EP and maybe catch a show and pick up a copy as they'll be on a UK tour from February 21st - March 7th.

FFO: Maylene & The Sons Of Disaster, Turbonegro, latter-Blacklisted

Music sometimes just cuts through the bullshit.  As reviewers we often get caught up trying to describe the sound of a band or what genre they come into. Eight Bells clearly don't care what their music is described as or try to appeal to a certain genre specific audience. If they did they wouldn't have recorded this free roaming album, which at times is head-bang inducing, ethereal and gloriously unpredictable.

Eight Bells came into existence when Subarachnoid Space disbanded.  Seeking new musical avenues Guitarist Melynda Jackson and drummer Christopher Van Huffel  enlisted the classically trained 6 string bassist Haley Westeiner . The Captain's Daughter is their debut featuring four tracks and just under 40 minutes of music.

There seems to be an almost channelling of sounds throughout the album as it never follows one defined path. Instead tracks spiral in various directions featuring at times some vicious drumming, offset with wails of feedback and glorious melody, which Jackson seems able to produce at will. Mostly instrumental in delivery apart from a well timed vocal presence on the title track from Haley Westeiner.

It took forty seconds for this album to drop my jaw, the hypnotic riff on album opener 'Tributaries' completely flooring me especially as it was unexpected by how the track had begun. The shortest track on offer here, still manages to explore more territory than some band's albums. Each of the remaining three tracks, have plenty of moments of their own, the bluesy riff at the beginning 'The Captain's Daughter' and Van Huffel's drum master-class throughout 'Fate and Technology' . Eight Bells take blueprints of how some music is made, and toss them out the window. The Captain's Daughter takes in many musical forms from experimental odyssey to the introverted  melancholy of 'Yellowed Wallpaper'.

At times complex and intricate yet delivered with a soulful raw freedom. Its best experienced without pre-conceptions and an open mind. If you enjoy heavy music that you can "feel", The Captain's Daughter could be one of your new favourites.

CD copies are available to pre-order now through Seventh Rule Records, and a vinyl release is to come later handled by The Flenser records.

I miss old-school Trail of Dead. Good thing the new Fresh Eyes For The Dead Guy EP is here to help me remember what punk-rock used to sound like.

Of all the derivatives of rock, punk is maybe the hardest to pigeon hole. I mean there’s punk and there’s Punk right? To some it’s an ideology; the self-destructive whiff of hedonism that took on Thatcher. To others it’s simply the bastard-child of rock; raucous and celebratory.

I used to hate punk as a genre. I found its inherent style, attitude and pseudo-political message was often at the expense of any real musical merit. I wanted a Punk that was not preoccupied with image. Music shouldn’t be about the willful damage to property, mohicans or nose rings. It shouldn’t even be about trashy noise with a double-time drum beat. The fundamental myth that Punk was ever about anarchy and that anarchy, as an ideology was ever about chaos is utter bollocks. Well nevermind the bollocks! Punk, at its heart, is about the outright rejection of class, the rejection of corporate ownership over culture and the celebration of our right to refuse. It’s about dancing like a nob and drinking. It’s about playing your instruments with fury, angst and passion.

My Nails Don't Get Dirty Now I've Stopped Climbing Trees by Fresh Eyes For The Dead Guy ticks all these boxes. It is ferocious, angsty and makes you want to punch the air.

I first saw these guys play at a little place called the Jam Cafe in Nottingham; a tiny venue where both the sound and the audience tend to bounce off the walls once the atmosphere gets going. Perfect for Fresh Eyes, whose live performance is often a sweaty affair that mobilizes even the most rigid of beard-stroking musoes. Their latest EP is the most representative recording to date, captured beautifully by Guy Elderfield at Random Recordings (Swound!, Dog Is Dead, Amusement Parks On Fire). According to lead singer and guitarist Nick Chuter, it took just under 5 days to record and a little bit extra to tidy it up. It follows their self-released Triceratops EP from 2010, which gives the listener a rudimentary introduction to the band but doesn’t come close to the glistening professionalism of this latest effort.

Opening track ‘Wan Chai’ has all the gritty, anthemic appeal of early Trail Of Dead and is swiftly followed by the infectious chorus of ‘Blue Harbour’; “You came here, to be alone, You came here so you can find your own way home. So come on girl, don't let me down.” Throughout this record, the cacophony of barking vocal and energised rock & roll comes together in a clean and catchy synergy.

There’s nothing original here. Nothing groundbreaking. Fresh Eyes For The Dead Guy are not about to change the face of punk as we know it but they will certainly remind us of how much fun it can be! A genuinely solid rock record is rare but it’s all the more satisfying when it emerges, surreptitiously, from a small but focussed local scene like that of Nottingham.

The EP has been bouncing around in a label-limbo-hell since summer 2011 but lead singer Nick Chuter assures me that it will be available for download on Bandcamp from 25th February 2013 whether the label likes it or not. If there’s any justice in the world, we will see a physical release before Easter but as with all things in the DIY music scene, money is tight and physical releases are a risky business in this digital age. We might have to hold out for a full-length album later in the year instead!

Download music by Fresh Eyes For The Dead Guy from their Bandcamp or follow them on Twitter @FreshEyesShout

According to their website LA four-piece Golden State incorporate, “the ambition of prime Muse, the crunch of classic US rock and the vibrancy of Queens Of The Stone Age” into the making of their music. Based entirely on listening to their 4-track EP release Subdivision I can confirm that there is the crunch of classic US rock and a Queens Of The Stone Age vibrancy. However, I can’t comment on how reflective it is of their music on a whole. Three of these four tracks are taken from their debut album Division that was only released in the USA and of which I haven’t heard in its entirety.

For UK fans of former American Bands Paloalto or The Red Jumpsuit Apparatus, this is a really exciting project.  Consisting of former rock band Paloalto’s lead singer, James Grundler , Elias Reidy (former bass player of The Red Jumpsuit Apparatus) equally as talented guitarist Marc Boggio, and drummer Kameron Waters  there are no subdivides in regards to their musical compatibility, or Golden State’s ability to make good music.

There is a slight predicament with this particular style of rock music though and it goes as follows. Bands tend to morph into one another, with a similar sound and whilst this EP is an enjoyable listen, I’ve found it hard to decipher an individual personality for each track outside of the genre. This however, is not meant as criticism, it’s a compliment (perhaps it may seem as a back handed one but a compliment none the less). What makes this style so popular is just that; the fact there is little variation; fans can’t get enough of the ‘nod-your-head-along-to’ sweeping melodies, anthemic choruses and intense brooding vocals familiar to such music. 

The EP opens with up-tempo ‘Rocket’ where Grundler’s throaty vocals croak “I’ll put a rocket in your mind” and Queens Of The Stone Age-esque guitar riffs reign dominant. ‘All Roads Lead Home’ is next up, a lovely little laid back, slowed down, powerful ballad about hope in finding your way back even when your world is thrown off kilter resembling slight echoes of U2. ‘Setting Sun’ has every aspect of a brilliant anthem rock song down to a tee and would be very popular with a mainstream audience. 

Then there’s the bonus track “Bombs”, the only track not on the aforementioned debut album. You might want to skip the first 30 seconds which dare I say it, are a bit irritating, there’s this repetitive reverby guitar thing and echoed “end this war” harmonies going on which I don’t really know what to make of but wouldn’t have been out of place from Bono or at a Live Aid Concert. Focus is soon stolen by power ballad, bomb dropping drum beats, and the lyrics being represented through the urgency of Grundler’s vocals. Overall, Subdivision is strong enough that Golden State should build a very solid and deserving UK fan base.

I am looking at a cover for Megachurch’s new album Megachurch2: Judgment Day. Because usually the artwork helps me getting a first impression. In this case I see a bright green fluorescent dragon. On top of this dragon sits a man. This dragonrider is wearing a suit and he seems to be wearing glasses. He is also holding an enormous bright golden sword. In the background I see a bright purple/pink erupting volcano of some kind. Is that a church I see at the foot of the volcano being threatened by the purple/pink lava? Wait, do I see a witch-like creature on the bottom right of the cover art? Intrigued by this spectacle of fluorescent colours I click on the artwork for Megachurch’s first album Megachurch and I see the same man, riding the same bright fluorescent green dragon, whilst holding the same bright golden sword. Hmm, I sense a theme here.

Megachurch are an instrumental metal band from Cleveland in the United States of America, something they make clear on several occasions throughout this album. Not by singing though, as they wouldn’t be labelled “instrumental”, but they use a lot of vocal samples reminding the listener that we’re dealing with an American band here. The samples all sound to be American preacher men. In fact, the band themselves uses the term “televangelist samples”. Now, they say you learn something new every day, and there you go, I can now add the term “televangelist” to my vocabulary.

Coming back to first impressions, Megachurch’s artwork doesn’t give me any good ones, but I am intrigued to say the least. So, I import the music on my mp3 player and I hit play. First track ‘Resurrection’ hits me with one of those televangelist samples combined with some heavy riffing on what sounds like a bass guitar. Wait, that should be bass guitars, as Megachurch plays with 2 bass players and 1 drummer.

One thing is for sure, while they don’t seem to take themselves very seriously, they sure know how to play and more importantly how to riff. It is brilliant stuff I’m hearing and it reminds me of a much heavier That Fucking Tank, especially the second track ‘Teabaggers’, which is full of heavy distorted double bass guitar riffing, interesting timings and the occasional splashes of melody.

The album is very well produced, and it continues on this heavy riffing theme and it doesn’t bore one single second. The televangelist samples add a lot of humour and fun to the mix, and I can only imagine how fun it would be to see them perform these tunes live. Various church themes are addressed, such as the gay agenda, exorcism, Republican battle hymns, the second coming and of course Judgment Day itself. I’m sure that even the Terminator Arnold Schwarzenegger himself would be enjoying this album.

Whilst Megachurch2: Judgment Day has been released through the band’s own bandcamp site a while ago, it now has been released in Europe on CD and cassette tape through Stressed Sumo Records. I sincerely recommend you to listen to this album, despite the first impression the album artwork could give you.

Last Witness have been doing the rounds for a fair while, first popping up in 2006 amid the whole metalcore boom/fiasco (depends how you want to look back on it). I've caught a few live sets over the years from support slots to headlining, and they just seem to pack more and more of a punch each time. Highly recommend you catch a show if you can.

Right, here we've got a two song 7". Not being a mega fan and initially cringing at the metalcore revival-vibe going on in my head, I wasn't sure about this. But give it until the end of the song and you'll see why these guys are still soundly doing the circuit.

With the stereotypical chugging riffs of their earlier days, they combine a thick layer of the current hardcore trends into this perfect, semi-nostalgia inducing, 8 minutes of pure mosh. The vocals are solid, hard-hitting but clear and everything just works perfectly throughout. A real up in their technicality and ability as a band. Proving that you can put a really different spin on hardcore that others have missed or failed to do in the past. This is a game changer.

If you're anything like me and have neglected these guys for a while or entirely, I'd get your ears around this and keep your eyes peeled for any further news.

FFO: For The Fallen Dreams, Rotting Out, Breaking Point

7.5 Tonnes Of Beard feature And So I Watch You From Afar's (what is it with the long names?!) bassist Johnny Adger and also their sound-man Andy Coles on drums. While ASIWYFA have floored audiences on a global scale with their instrumental prowess, 7.5 Tonnes Of Beard want to floor you with a sledge-hammer.

Messrs Adger and Coles have enlisted the vocal duties of Mickey Higgins (Residual Effect), and guitarists Ian Booth and Blane Doherty (Gacys Threads) join them live to complete 7.5 Tonnes Of Beard's line up. Higgins in particular gives the granite heavy slabs of sludge a complimentary growled presence. Recorded by Coles at his own Beardnoise studios (theme developing here?), he's done a great job of making the EP very tight and punchy sounding despite the swamp dwelling music.

Things begin with 'Grit', which is a heartfelt ballad, featuring gentle acoustics and a Carpenters type feel. Of course its fucking not, its a vicious slab of fucking heaviness that will make your head explode. With lyrics about rats eating your eyes! Its a powerful kick in the nads that has been produced to inflict maximum damage. Necks will snap!

Johnny produces the type of bass riffage Burton himself would be proud to call his own with 'Shallow Man' featuring some excellent blending of fuzz and dirge. More great use of dynamics here ensure that as heavy as the music is there's plenty that grabs the attention. Across all the tracks there's plenty of locked-in groove ensuring it will lodge in your brain.

'Forced to Watch', unravels into a thunderous groove of MegaDoom. Deafening in delivery it features some excellent stop/start rhythm (think Sepultura Chaos A.D in slow motion!), Higgins speaking in tongues at one point his then roar of "Where Is Your God Now" will make you shit your pants. This is sludge in the vein of Conan/Bongripper etc and delivered with as much authority.

The ear splitting interlude 'Appalled Beyond Comprehension' sets us up for closer 'Sign Of The Cross', in which  7.5 Tonnes Of Beard lumber around like a giant psychopath intent on separating your head from body. At near 8 minutes in length its a punishing and unrelenting onslaught with Micky Higgins again scaring the kids with wide-eyed, manic vocal aggression.

You don't get asked to play on over 150 records without reason, and Alison Chesley has dragged her cello along to play with the likes of Mono, Bob Mould, Anthrax and Russian Circles. In many ways that's really beside the point though, because her project Helen Money is the real triumph.

Arriving Angels will be third album for Helen Money and it's one of the most intriguing and utterly rewarding things I've ever heard.

Mind you, Chesley makes you work for your reward with part of that reward being for withstanding the occasional vicious attack on your musical pendulum with some of the most violent and jarring bow work you will hear. The aptly titled 'Upsetter' is a great example, where she demonstrates the slow torture of discordant and repetitious passages with little relief. While some might knock you about the room with harsh vocals, Helen Money calmly removes your fingernails before painting the puffy raw ends with petrol. This is metal, but not the fun-loving carnival that Apocalyptica create with their cellos.

Consisting almost entirely of cello, with drums on four tracks and a sprinkling of piano in one, there is some similarity with guitar-and-bass metal, after all the source is vibrating strings, but the timbre and the nature of the attack and delay when plucked and struck with horsehair opens a new universe of awesome. Cello is surely the most emotional instrument in its natural form and in the right hands manipulation enhances it even further. This is why metal is its natural home.

Chesley serves us a variety of heartbeats, at times slow, at others full of pace driven by fear. The compositions are astounding. This is due in large part to the use of all of a note's available qualities – something usually lacking in rock and metal. In compositions like 'Midwestern Nights Dream' sequences of plucked notes are allowed to decay fully, while in others the attack is exploited to create a ticking clock.

Many of the most effective techniques are subtle and used very sparingly – perhaps once or twice - and provide great contrast with the electronic looping to create and retain a natural sound and feel, as well as mystery and tension. An example is the slow drumming in 'Shrapnel' which sounds like rimshots but for two beats toward the end that are more like flam. Similarly the slow plodding piano in closer 'Runout' sounds like single notes save for the last couple which are clearly chords with the keys not struck in perfect unison. Whether these are written or a consequence of the performance is irrelevant - Chesley has an amazing understanding of the difference between the warm humanity of the imperfect real-time elements and the cold precision of the loops.

When you listen to this though, you need to get out of any headspace that treats this as a novelty. It's not a must-have because it's a metal album played on cello. It's a must-have because it's a brilliant metal album.

Ornaments from Italy, are one of those bands I've seen mentioned online and thought I'd check them out. Luckily for me they have a new album released, Pneumologic and kindly submitted it for review.

Musically Ornaments play a mostly instrumental brand of post-rock/metal. Nothing new you might say, but there's more to Ornaments. There is a darker/heavier quality to the music more akin to Cult Of Luna or Pelican in feel, rather than Explosions In the Sky or Mogwai.

Special mention must be made of the drumming by Riccardo Bringhenti  throughout Pneumologic. A tribal pounding is sustained throughout as well as holding down the rhythm when needed. Its this octopus on steroids approach that propels some of these tracks to greatness. That's not to say the rest of the band are slouches, far from it. A subtle mix of stirring dynamics and down-tuned riffs keep everything flowing nicely.

For the most part songs are lengthy and instrumental, however 'Breath' features vocals. Initially I wasn't keen on the style of these vocals but the track has grown on me with repeated listens. I'm not entirely sure of the concept behind Pneumologic as a lot of the press info was in Italian. I sense however the vocals on 'Breath' are central to the theme.

'Aer' features some of that tribal drumming and steadily building atmospherics, before shifting into heavier moments. It is easy to see how Ornaments have supported the likes of Pelican in their homeland.

Pneumologic is delivered with passion and Ornaments aren't afraid to change things up to avoid repetition.
'Galeno' starts with eerie sounds creating an uneasy feeling. The guitars blend at first melodic, before shattering through your headphones, an impressive blend of atmospherics and volume make it another stand out track.

'Pneuma' follows at times frantic in pace with drumming again at the forefront, Enrico Baraldi laying thick basslines and Davide Gherardi and Alessandro Zanotti trading riffs . Its one of the heaviest and most immediate tracks here and is compelling listening.

'L'ora Del Corpo Spaccato' ends the album with a bit of a change of pace. Tense rhythms and hardcore style vocals come as a bit of a surprise. Its almost got an Amenra feel about it and again I'm not entirely sure about the vocals. They aren't delivered just as well as the instrumentals, however I applaud the change though and it may be a personal thing on my part. The track itself mutates into a sparse section before a hypnotic guitar melody rings out and the drums descend leading to more instrumental passages.

An impressive end to what is an excellent album and one I highly recommend.