Listening Notes: Playlist Clearance Vol. 3

Playlist Clearance is not over yet—and maybe it never will be. Lol.

Without further ado, here are some releases summarized in this session:

The Abyss Inside Us – Circuits (2022)

74%

The Abyss Inside Us returns with Circuits, which feels more energetic thanks to heavier guitar tones plus electronic additions on the title track and “Lack of Gravity.” Overall, the crescendo formula is still used, and “Rebirth” works as a kind of interlude with a fairly emotional tremolo ballad presentation, though personally I’m not fully convinced to pick it.

The main candidates are “Last Breath” and the actually quite aggressive closing track, “Firecracker,” while “Lack of Gravity” sits in the honourable mention category.

Anoice – Stories in White (2024)

74%

An album with artwork and themes similar to the dark, melancholic The Black Rain (2012), though this one might feel more tense. You can sense it right from the opening—even “Resonance,” “Kill Lies All,” and “The Rain Maker” show rough post-rock vibrations, contrasting with what I’ve previously heard from Anoice. Still, my preference for now remains the piano-and-violin combination.

So, even though the atmosphere grows increasingly ominous and feels as painful as the current state of the world, only a few tracks fit my present taste.

Best tracks: “Aria,” “On Another Day,” “Night Before the Rain,” and “Eclipse.”

Årabrot – Of Darkness and Light (2023)

70%

I didn’t expect Årabrot’s name to be that big—a Grammy-winning act. And apparently the genre isn’t post-rock like I assumed. This Norwegian band leans more toward rock and roll with touches of post-rock/punk, new wave, and grunge, all wrapped in dark themes—maybe somewhere around Ghost or Killing Joke in my head.

So yes, I’ll probably just pass on Årabrot. The main candidates I can mention are “Cathedral Light,” “Fire!,” and “Swan Killer.” That’s it.

Carlos Ferreira – Before Memories Fade (2022)

77%

So, what about this seemingly repetitive ambient release? Oh, it’s different—taste is taste.

Carlos Ferreira returns with contributions from several artists such as Wøunds and Hero Nakamura. The first three tracks feel deeply reflective and perfect for daydreaming, but “Cloudy Morning” breaks the mood with slightly harsh sounds, followed by meditative synth ripples in “Dandelion.” “Liminal” should be a turning point, but its blurred intro weakens the impact, which continues with the mixed soundscape of “Nostalgia.” Finally, “Take Care” closes the album with ambient textures that feel right for letting go of everything that came before.

Ah… with that, four pure ambient tracks are ready to enter the favorites playlist: “Accepting Transience,” “Aimless Wandering,” “Before Memories Fade,” and “Take Care.”

Springfield – Vernal Equinox (2014)

73%

I thought Colorado’s Springfield played stoner rock—but apparently not. This 81-minute conceptual album blends alternative, psychedelic/space rock, and post-rock elements. Although I initially felt fatigued by the instrumentals, Lain Więckowska’s vocal recordings feel somewhat disconnected from the music, making tracks like “Vår” and “Weightless” feel a bit disruptive.

So, after going through ten lengthy tracks, was there anything that stood out? It’s a tough call, but my patience is thin—so maybe just “Ashville” for now, mainly because of its math-rock-flavored picking in the final minutes. The rest will require more time and deeper concentration.

Sunnata – Climbing the Colossus (2014)

70%

Similar to Springfield, even though labeled as stoner/sludge metal, I find Sunnata’s debut album leans more toward stoner rock. That makes sense given the spiritual psychedelic influence, though the instrument recordings sound somewhat less sharp—making *Ginevra*, released the same year, feel heavier in comparison.

So, despite Sunnata offering longer, more conceptual compositions, I couldn’t really connect with anything here. Fans of Om, Dvne, Sleep, or similar bands might find it more appealing.