The opening title-track is also the shortest at 6:25, but as Breach Us moves across “Exit Through Fire,” “Crimson” and especially 14-minute closer “Can I Carry You,” it brings forth the sort of ominous dystopian assault that so many tried and failed to harness in the wake of Neurosis‘ Through Silver in Blood.
Though they’re the kind of band who make people who’ve never heard Black Cobra wonder how two people can be so heavy - and the record has plenty of that “Exit Through Fire”‘s sludgeshuggah chugging walks by and waves - it’s the sense of atmosphere that guitarist/bassist/vocalist Ole Rokseth and drummer Markus Støle bring to the proceedings that make them so engrossing. Oslo’s Hymn answer the outright crush and scathe of their 2017 debut, Perish ( review here), with a more developed and lethal attack on their four-song/38-minute follow-up, Breach Us.
KAIRON IRSEREVIEW FULL
They hold back until closer “Shapeshifter” to go full post-rock, and while there are times at which it can seem unipolar, to listen to the crunching “Step Into You” and “Cloud City” side-by-side unveils more of the scope underlying from the outset of “Waves” onward. As it stands, the largesse and melodic wash of the Illinois outfit’s all-growed-up heavy post-rock offers 55 minutes of comfort amid the tumult of the days, and while I won’t profess to having been a fan in the ’90s - their last studio LP was 1997’s Downward is Heavenward, and they sound like they definitely spent some time listening to Pelican since then - the overarching consumption Inlet sets forth in relatively extended tracks like “Desert Rambler” and “The Summoning” and the manner in which the album sets its own backdrop in a floating drone of effects make it an escapist joy. One has to wonder if, if Hum had it to do over again, they might hold back their first album in 23 years, Inlet, for release sometime when the world isn’t being ravaged by a global pandemic. Work sucked too.Īnyway, if you haven’t found anything to dig yet - and I hope you have I think the stuff included has been pretty good so far - you can either go back and look again or keep going. Come to think of it, I wasn’t much for school all around. So we’ll get to 30 of the total 60 records, and then be past half through tomorrow. Today we hit the halfway point, but don’t pass it yet since I’ve decided to add the sixth day next Monday. She continues to spread the experimental and psychedelic music-based word amid unsuspecting students at BIMM Institute London, hoping to inspire the next gen of rock, metal, prog and indie creators and appreciators.Day three of the Quarterly Review.
After being Deputy Editor for Prog for five years and Managing Editor of Classic Rock for three, Jo is now Associate Editor of Prog, where she's been since its inception in 2009, and a regular contributor to Classic Rock. Jo's had tea with Robert Fripp, touched Ian Anderson's favourite flute (!), asked Suzi Quatro what one wears under a leather catsuit, and invented several ridiculous editorial ideas such as the regular celebrity cooking column for Prog, Supper's Ready. But before that Jo had 10 years as a London-based gig promoter and DJ, also working in various vintage record shops and for the UK arm of the Sub Pop label as a warehouse and press assistant.
Jo is a journalist, podcaster, event host and music industry lecturer with 23 years in music magazines since joining Kerrang! as office manager in 1999.
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