I love you but it’s killing me.
London’s 229 was host to an extremely specific festival of instrumental music on a mild January afternoon, run by Celestial Diadem promotions. The bands on the bill shared a lot of attributes: small but promising discographies that are vocal free, and an emphasis on the “rock band” in “post rock band” – that is to say, there were no extensive improvisational drone segments that might be divisive; there were riffs, real songs, and it was hard not to headbang. As we descended into the tunnel-like venue, there was a sense that all the acts would all be making lots of noise, but not in a machismo manner. The room was nicely packed throughout the event and, despite the reputation that the post rock and metal genres make for walls of “arms-folded” individuals, they were extremely responsive to every act. The day was preceded by an additional evening of similar bands at the Black Heart (Pleiades, The Grey, and AEIR), which had a side effect of keeping the 229 event completely vocal-free (FORT’s brief gang vocals don’t count).
Time in Antarctica
In contrast to the other bands of the day, Time In Antarctica’s varied studio material was not conceived within the confines of a “band”. Instead, it’s a decidedly chilled out form of instrumental rock/electronic music, in the vein of Erik Wøllo’s rhythmic material. Whilst they were playing their more recent material that’s clearly been conceived for a live setting, the distinctive laid-back atmopshere was passed on to the 229. The use of looping both clarifies and mystifies the music of Time in Antarctica, as the many layers of their tracks are far from impractical yet remain a technical marvel. The bass was a confident groove and the guitars indulged in Floyd-y bends and croons. Time in Antarctica provided a gentle start to an already packed room.
AV Sunset
A late addition to the line-up, AV Sunset used the performance as their rebirth, stepping into 2024 with their freshly debuted album on the airwaves. The five tracks they played were drawn from the very best that Disconnections has to offer. The band was tight amid the their rich and echoing drone leads, with plenty of quiet moments too, such as “Hasselhoff”’s rise from solo guitar to ultra-crescendo. It was just the right audience for these patient stretches as even first-time listeners could feel the impending noise coming. Saving the most complex track for the end of the set, the drummer donned headphones to keep things tight on the mathy “Monomyths” for a massive finish.
Million Moons
Whilst I’d encountered most of the other bands on the line up, Million Moons had slipped from my attention, and many others it would seem, with Gap in the Clouds dropping during that ambiguous post-2020 era. And what a miss that was, as the record immediately feels like a modern classic post rock album, scratching every itch you’d like one to. The performance lived up to that quality as they welcomed live bass and guitar into their live band. Tremendously melodic and powerful, they had great control over all of their volume swells. They teased their next record – a Lewis Johns-produced step into heaviness which I can’t wait to hear.
FORT
The most “post metal” band on the line-up so far were also the bounciest. Cardiff-based FORT struck an initially dark tone with “Ouroboros”, but their intent on being party animals became increasingly clear throughout their set. The guitars were absolutely set loose and we were stunned by their animated bassist who could do gentle harmonic taps and boppy jumps. They were happy to wear influences on their sleeves with “You are the Square Root of the Problem” nodding at And So I Watch You From Afar; no complaints here, as it’s hard to be both “fun” and “atmospheric” without stopping by their altar. They were the most versatile band so far, as we could see them fitting into many mixed bills that go far beyond the “post” scene.
Din of Celestial Birds
Speaking of heaviness, Din of Celestial Birds absolutely brought it with their triple array of guitars and the most crushingly heavy tracks from The Night is for Dreamers. We knew the lead single well, but were both bowled over at “Laureate of American Lowlife” as the three of them navigated its tremendously heavy middle and end passages. Another highlight was “MMEC” – can you believe we went five post rock bands before one of them pulled out an audio sample? The track’s spoken word segment deals with depression, and among at least the front row who knew this moment was coming, there was a more-than-tangible appreciation for the track’s themes, and the subsequently massive outro was all the more emotional as a result. “I Love You But It’s Killing Me” gave two of the guitarists the chance to invade the audience to close the set in a memorable fashion. Look no further than their return appearance at 2024’s ArcTanGent to understand the immensity of their live act.
Mountainscape
Living up to their name, Mountainscape play massive post metal with riffs. The audience agreed as many attendees responded with furious headbanging – if there had been just a few more die-hard Mountainscape fanatics I’m sure they’d have had a little mosh. The tunnel shape of the 229 emphasised the boominess of their sound, but they were still really articulate. The delicious bass tone was given time to shine on “Awakening”, taking the limelight very naturally, whilst the sibling combination on guitars and drums produced a tight combo. They introduced one track as an upcoming single, but only in name, as it felt like about five different songs, visiting doom metal, black metal, post rock, and everything in between. The musical core of Mountainscape is the natural progression in their songs, pulling you through their themes and ideas that trade places as if they’re natural landmarks in a dramatic vista. Thus, whether you knew them or not, we’re confident you’d find them extremely engaging.
Last of Eden
Last but not least, Last of Eden (L.O.E) did a great job of summarising the power of the day’s music. This was not just through their own fantastic set, but with grateful thanks to all the other bands and the attendees (some of which had travelled from far away Malta to attend). L.O.E play spirited and immensely detailed instrumental post rock, a subtle tweak on the styles of Million Moons, Din of Celestial Birds, and the genre’s forebears. Opening with “People Like People Like Them”, the track and the video screen cranked that sample from Network (also heard on Maybeshewill’s classic track “Not For Want Of Trying” – I’m sure it’s a coincidence). This track and others were given powerful renditions. Their fifth member was a screen that played thematic, old stock footage, synced tightly to the songs. The grainy visuals were a welcome contrast to the high tech of their e-bows and glittering pedalboards.
Follow Celestial Diadem for more post-oriented rock and metal events in the future (Facebook / Instagram).
(Photos by Dobbin T, words by Dobbin T & Ash R)