Trying to top a debut such as their self-titled album, Holding Absence have been teasing up with clops and portions of the new album since Afterlife dropped in January earlier this year. Since then the hype around The Greatest Mistake Of My Life has been building with the release of Circles and nomoreroses. Ditching their previous presence of social media as a drab black and white background the change left fans everywhere scratching their heads with what’s coming next. A change of sound & change of direction from their debut? Thankfully not.
TGMOML has risen above the hype and crushed the self-titled offering from the band as they’ve taken the sound that made noticeable across the modern Rock scene, polished it and tweaked it to create the monstrous album they’ve created by vocalist Lucas Woodland the album starts with an atmospheric opening before Woodland proclaims ‘I’m Alive’ while the band launch themselves atop a shimmering landscape of Post-Hardcore & Hard Rock mixtures that they blend together effortlessly. From here on out the band fluctuate their pace with the slow burning ballad Curse Me With Your Kiss that leads directly into the arena filling lead single anthem Afterlife. The guitar work of Scott Carey and drummer Ashley Green combine with Woodlands vocals to create an addictive mellow vision on Drugs And Love & Circles as they both show the bands skills of pace and tempo as they lull us into a false sense of security as nomoreroses blasts back into their faster heavier side.
The Cardiff three piece are down a man as bassist James Joseph announced he’d left the band prior to Afterlife’s release. But the band hasn’t shown any signs of stopping as TGMOML is not only more melodic but also more on the heavier side of the spectrum on times. Beyond Belief & Die Alone are the perfect back to back duo that encompasses the bands ability to shift their style tempo to make the album that much more moving. Phantoms is a haunting interlude that sounds as disturbing as it is beautiful. Mourning Song is a slow burner clocking in at 7 minutes but shows the band are more than capable at writing longer songs that still sound fresh. Ending the album is the title track that was performed in the 1930’s and then discovered by Lucas’ great uncle in the 50’s by some incredible feat. Feeling that it holds true to the narrative of the album, they play the original song straight from the vinyl with the signature crackling noises in full effect to give the feeling that the past has coincided with the present. Another small note about the album is that almost every single song transitions into each other, making it a better experience to listen in one sitting.
It’s a dazzlingly fantastic album from the band that shows the band are moving forward with their sound but still retaining the signature tone they’re known for that is a shoe in to be album of the year and even album of the decade. You’ll need to pay close attention to Holding Absence as after their upcoming UK & European tour they’ll be spearheading the Rock genre to all new heights. And in a few years time they’ll be at the forefront of the modern Rock scene headlining arenas with their names in lights. It’s a beacon of hope in these tough times that we all needed to shine through us.
The Greatest Mistake Of My Life? Far from it. The greatest record of 2021. Without a doubt. 10/10
For all the heavy metal we get here at MoM Towers, we do occasionally get something different that breaks from the heavy riffs and growled vocals. Toulouse four piece Bruit ≤ are an ambient/neoclassical/post-rock band with an encompassing sound that draws heavily from Mogwai, Mono, Explosions In The Sky on the post rock side, bringing the ambiance of Massive Attack and Portishead. The band members are Theophile Antolinos (guitar/tape), Clément Libes (bass/violin/keyboard), Julien Aoufi (drums) and Luc Blanchot (cello), as you can see from the instruments that this isn't going to be a steamroller, but more of an exploration of soundscapes, the multi layered instrumentation beautifully composed to ebb and flow across these four long running tracks which need to have room to breathe.
This musical exploration culminates in the cathartic title track that closes out the album with a level of emotion, that just builds and builds towards a much needed release 5 minutes before the end, the comedown a reverb/echoed last part. Theophile's guitar playing is wonderfully lucid, folksy acoustics and shimmering clean electric guitars, Luc's drumming is sparse but multifaceted shifting these audio journeys as Clément's bass throbs deep in a grooving well, the keys are integral to the ghostly encompassing sound that brings a darkness to Industry, which also highlights the stirring cello of Luc who combines with Clément's violin on the Renaissance, an ethereal folk number that evolves into a widescreen mid-section.
Two tracks in and I was enraptured by this album, the four members of the band orchestrate a stunning musical vision with Florianne Tardy (clarinet), Benoit Huet (French horn), Fabien Dormic (bass trombone) and Juliette Carlier (vibraphone) all adding their own touches to this wonderful album. Not metal, but it carries a weight of bands like Cult Of Luna. Staggering. 10/10
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