E-L-R – Atropa
Bern’s E-L-R released their third album, “Atropa”, on Prophecy Productions on 6 November, a record shaped by illness and now made as a duo.
Post-rock: instrumentals extensos, crescendos i textures que construeixen l’emoció sense lletra. Tótum Revolútum Press segueix les novetats discogràfiques i els concerts del gènere a Catalunya, des dels referents que el van definir fins als projectes que hi aporten sons nous.
Bern’s E-L-R released their third album, “Atropa”, on Prophecy Productions on 6 November, a record shaped by illness and now made as a duo.
Pizarnik is a Barcelona band that describes itself as post dark rock and released the record Pizarnik on 30 June 2023, recorded at Hukot Studio in Barcelona.
Sólstafir, the Icelandic band formed in Reykjavík in January 1995, with roots in black metal, which released Hin helga kvöl in November 2024.
The six titles on this Fribourg quartet’s fourth album spell out a line of Gandalf’s. The post-rock holding it up is impeccable and almost never surprises.
The Minneapolis trio swap New Morality Zine for the Troy hardcore label. The song has demos going back to 2023 and, they say, ends with the heaviest section they have ever written.
“Aurora” is the last of three advances from the trio’s fifth album, out on Magnetic Eye on 20 November. Seven tracks cut at Studio Gröndahl in Stockholm with David Castillo.
The Ocean’s twelfth album, with four of the seven core musicians newly arrived. It opens and closes on celesta, and the label admits it wanted to sound recognisable.
Seven tracks and forty-seven minutes of post-metal from Richmond: the only one where they switch the distortion off runs three and a half minutes, and the record uses it as a pause when it could have been a way forward.
Serhii Lykhotvor writes, plays, produces, mixes and masters the debut EP of his Ukrainian project. Yulia Lykhotvor of Sidus Atrum sings on two of the five tracks.
A third EP in ten months and a third with four tracks: twenty-three minutes of post-metal from Caen in which the shortest song the band have ever recorded arrives second and never returns.
Erlend Viken, Soup’s singer, plays almost everything here and did the artwork as well. The one thing he can’t do alone is the strings, and they’re what decide the record.
Aaron Richardson plays, mixes and masters all of it on his own, and his first album gives forty-six minutes of textbook post-rock executed very well: seven tracks, no surprises.
The Madrid quartet’s first album without founder Esteban Girón and the first they have put out themselves: seven tracks mixed by Santi García, with the synths as the floor and a drum machine on “Costa Roja”.
Seven tracks and forty-one minutes mixed by Santi García in Sant Feliu de Guíxols. The Madrid quartet have left InsideOut and Jorge García has come in on guitars and synthesisers.
The EP holds “Hunter”, “Three Princes” and “Sorry Laid the Hearth”. The title comes from a 1987 book of photographs about the people who build nuclear weapons.
Ten tracks and thirty minutes of electronics, lo-fi and shoegaze about having nowhere to live. Jesper Vervoort says the record was building the home while he made it.
Three tracks, twenty-three minutes and a twelve-minute-forty-seven closer. The surprise EP on which Deafheaven get closer to black metal than they ever have.
Erlend Aastad Viken, of Soup, closes the Giant Sky trilogy with eight tracks cut in 2024 and a guitar from Mogwai’s Stuart Braithwaite on the final song.
Second and final preview of the sixth album by the Massachusetts band, with a short film by Luke Webster Brown and Elijah Sussman. The European tour starts the day before and skips Spain.
Third album from Italian quartet AetheR: six tracks running from a piano miniature to a ten-minute finale, with Andrea Serino’s Fender Rhodes as the house colour.
Francesca Badalini’s Milan quartet scores the centenary of “Battleship Potemkin”: five movements, forty-one minutes and no period pastiche.
Eight tracks recorded at Hellfest in June 2022, on digital and limited double vinyl. The preview is “Protection”, with video of the performance.
Andrea Rondanini sings on it again and the first advance track is “Drowning Slowly”. Six tracks through Argonauta Records.
Thirty-seven minutes shared two ways: four tracks from Ogives Big Band and a single seventeen-minute stoner epic from POHL, with a sax solo in the middle of it.
From Warsaw to Hamburg in eleven days, touring “And The Dead Tree Gives No Shelter”, out on 5 June. Sweden’s Barrens join from the 20th.
It is the third advance track, after “Lost Fires” and “Molecular Angel”. Five tracks on Pelagic Records, produced by Emmanuel Jessua and mixed by Chris Edrich.
It happened on 2 October, on the North American tour with Mastodon and Alcest. The EP has no title and no date, and physical copies were on sale at the show.
Seven of the ten tracks come from the Roadburn set and the other three from Glasgow, Milan and Cologne: a live record stitched together from four rooms, and it shows.
Eight tracks and thirty minutes of four-handed ambient between Tokyo and the United States, six of which had already come out as singles.
Third album from the Mechelen five-piece, and the third with exactly seven tracks: thirty-eight minutes, the shortest of the three, with Loïc Rossetti guesting.
“Devotion” is out on 16 October through Relapse, dedicated to Rebecca Vernon’s father, who died in May 2025. She recorded it in Portland in 2022, three years before that death.
“Underground” closes the double LP of “Happy Tears”, out on Rock Action on 8 January. Matt Sweeney arranged Iggy Pop’s vocal.
“Marked for Death” is ten years old to the day, and the label has used the date to open pre-orders on both records, with two runs of five hundred copies and tour-only variants.
19 to 21 August at Todenham Manor Farm, Gloucestershire. Neurosis arrive with Aaron Turner on vocals and neither headliner has ever played the festival before.
Exxasens, a Barcelona cosmic post-rock project influenced by Pink Floyd and Explosions in the Sky.
Audiolepsia, the Cornellà de Llobregat instrumental post-rock band with emotive landscapes and intense atmospheres.
Maat, a Barcelona instrumental post-rock and math rock band.
Pardals, the instrumental post-rock project of four musicians from Ibiza, with Toundra and Böira as reference points.
We Are Impala, the “BCN Cosmic Twisters”, a Barcelona instrumental psychedelic post-rock band.
Ursa, the Terrassa trio of instrumental and experimental progressive rock.
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