Imperial Age have released their new music video ‘Gnosis‘ on YouTube, VEVO, Apple TV etc. ‘Gnosis‘ marks a milestone for the band: their first music video as a UK act, their first in four years, and their first with the current line-up. Produced by Loki Films – the team known for videos of Sleep Token, […]
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ROREY‘s Sudden Death is an emotionally charged alt-pop gem that captures the overwhelming intensity of desire, obsession, and surrender. Anchored by grit-laced guitars, haunting melodies, and a captivating vocal performance, the track unfolds like a confession delivered in the heat of emotional turmoil. There’s a cinematic quality to its atmosphere, balancing vulnerability and power while exploring the fine line between longing and fixation. Both intimate and expansive, Sudden Death transforms deeply personal emotions into a compelling listening experience that lingers long after the final note fades.
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Beasts We Are is a powerful and emotionally resonant piece that showcases The Huntress and Holder of Hands at their most expansive and compelling. Beginning with a delicate, airy atmosphere before gradually building toward a cathartic climax, the track masterfully balances folk, Americana, and art-rock influences. Driven by evocative instrumentation and a profound sense of purpose, it explores themes of shared history, collective responsibility, grief, and hope without ever losing its emotional intimacy. Rich in texture and cinematic scope, Beasts We Are is both a stirring reflection on the human condition and a reminder of music’s ability to unite through empathy and understanding.
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Phantom Pink‘s She Is The Poet is a captivating piece of art-rock that transforms emotional fallout into something strangely beautiful. Balancing dreamlike melodies with jagged sonic edges, the track unfolds with a cinematic quality, blending vulnerability, self-reflection, and a touch of dark humor. Its evocative songwriting and atmospheric production create a compelling tension between chaos and clarity, capturing the aftermath of reckless nights and the emotional labor that follows. Both haunting and deeply human, She Is The Poet showcases Phantom Pink’s ability to find poetry within personal disorder and turn it into something unforgettable.
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GIDE‘s Kaikuja is a mesmerizing instrumental journey that blends melodic techno sensibilities with atmospheric textures and a deep sense of nostalgia. Built around evolving synth layers, subtle rhythmic momentum, and cinematic sound design, the track unfolds patiently, inviting listeners into a contemplative and immersive sonic landscape. Balancing emotional depth with dancefloor-ready finesse, Kaikuja captures that rare feeling of motion and reflection coexisting in perfect harmony. Elegant, expansive, and quietly captivating, it is a track that lingers long after its final echoes fade away.
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I’ll be honest: when I first heard that Voivod had recorded a live album with the Quebec Symphony Orchestra, my expectations weren’t particularly high.
Not because of Voivod. More because these kinds of projects usually end up feeling unnecessary. Too often, the orchestra is reduced to expensive background decoration while the band carries on as normal.
Symphonique turned out to be a pleasant surprise.
What struck me almost immediately was that the orchestra actually sounds involved. The arrangements don’t feel like an afterthought, and there were several moments where I found myself paying more attention to the strings and brass than to the guitars. That’s not something I expected going in.
The other thing that became obvious fairly quickly is how naturally Voivod‘s music lends itself to this sort of treatment. Thinking about it now, maybe it shouldn’t be surprising. Their songs have always had an odd sense of space and movement to them. Even on the older records, there was often something cinematic lurking beneath all the noise and dissonance. Symphonique simply brings more of that to the surface.
The setlist helps. Rather than relying entirely on obvious crowd-pleasers, the band pulls material from different eras of its career, and some choices benefit from the orchestral setting more than others. A few songs suddenly sound much larger than I remembered them. Others take on a slightly different character altogether.
One thing I kept coming back to was Snake’s voice. Before hearing this, I honestly wondered whether all the orchestral stuff would end up swallowing it. It never really does. If anything, I noticed the vocals more than usual on a few tracks. Maybe it’s because the arrangements leave more space than I expected. Whatever the reason, it works.
The live aspect comes through, too. That’s another thing I wasn’t entirely convinced about beforehand. A lot of modern live releases sound so cleaned up that you stop thinking of them as live albums after ten minutes. Here I never completely lost that feeling that there was an actual room full of people listening to this happen.
A couple of songs left me less convinced. Not because they’re bad, but because I occasionally missed some of the roughness from the studio versions. Voivod have always had this slightly scrappy, unpredictable quality, and every now and then the orchestra smooths over some of those edges.
Then again, a few minutes later another arrangement would come along and I’d forget about that complaint.
By the end of the album I wasn’t really thinking about whether the orchestra was a good idea anymore. I was mostly thinking about the songs themselves, which is probably a good sign. The novelty wears off pretty quickly. What’s left is a bunch of Voivod material viewed from a different angle.
Some experiments spend their entire runtime trying to justify their existence. This one stopped feeling like an experiment somewhere around the middle of the set.
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