REVIEW

The seventh album from Canadian experimental post-metal band BIG|BRAVE.‍

Formed in Montreal, Quebec, in 2012 by Robin Wattie (Gt/Vo) and Mathieu Ball (Gt), the band became a trio in 2019 with the addition of Tasy Hudson (Dr).

Following the destructive heaviness of their previous release, this album expands into ethereal folk territories while developing a distorted, hammering sound reminiscent of a heavier Dead Can Dance. Long, resonant guitar tones and weighty, hammer-like rhythms create an imposing, immersive presence. Robin Wattie’s vocals combine the solemnity of Lisa Gerrard with the eccentricity of Björk, serving as a defining element of BIG|BRAVE’s unique identity. One might imagine this as the music an ancient shaman would create if handed an electric guitar and an amp.

Standout track #4, “canon : in canon,” presents a clear fusion of neo-folk and dark doomgaze, while #3, “chanson pour mon ombre,” unfolds as an improvised, chaotic piece that defies conventional notation, echoing an extreme take on King Crimson’s Moonchild. Amidst the whirlwind of notes, sudden cannon-like bursts of solid sound leave the listener breathless. Closing track #8, “Mooset,” transitions from sparse, lonely folk to crushing walls of noise, fading out with lingering resonance that leaves a cinematic impression reminiscent of monumental, otherworldly imagery.

By weaving ambient, folk, doom metal, drone, noise, post-metal, post-rock, and shoegaze elements, the album creates a labyrinthine, singular soundscape that feels truly alternative. For listeners leaning more toward shoegaze, the slightly more atmospheric fourth album A Gaze Among Them is recommended, whereas those unafraid of extreme darkness may prefer the funeral-doom intensity of the third album Ardor. Fans of dark, heavy music will find much to explore. BIG|BRAVE’s live performances are reportedly extraordinary, and it would be exciting to see them in person, perhaps invited by Tokyo Jupiter Records, which maintains close ties with heavy noise bands worldwide.