The most instructive thing about *Not Over* is what it doesn't sound like. It doesn't sound like *Letters to the Absent*, the 2012 debut that earned By Million Wires comparisons to skyscraping guitar psychedelia and established them as a band of genuine atmospheric ambition. It doesn't sound like the transitional instrumental work that followed Anna's departure — that more decisive, harder-edged post-rock that suggested the band might retreat entirely into wordlessness. And it doesn't sound like a band trying to sound like anything in particular. For a record fourteen years in the making, *Not Over* carries almost no anxiety about its own identity. That, more than any individual moment of brilliance, is what makes it worth your time.

Picture a city that has learned to dream in code. Not the romantic, analogue dream of sleeping bodies and restless minds, but the cold, perpetual processing of servers that never blink, never tire, never forget. It is into this machine-city that Bengaluru's Social Treble drops their new instrumental single, and the results are both genuinely unsettling and quietly magnificent.

**The night of November 5th, 2024 produced many things — disbelief, dread, the queasy scrolling through exit polls that wouldn't resolve themselves into comfort. For Vincent Roose, the Belgian musician operating under the name Scopitone, it produced an album. Not immediately, not explosively, but with the slow, methodical compulsion of someone who had run out of other options.**

Andrew Vickers works alone, and you can hear it. Not in the sense of thinness or limitation, but in the focused, obsessive quality of *Muffled Ears, the World Sounds Bad Quality*—a second LP that bears the fingerprints of a single mind trying to process too much reality at once. Operating as Sightseeing Crew, the Reading-based artist has constructed a remarkably dense sonic world, playing nearly everything himself (bar session horns and strings), producing and mixing a record that sounds like the inside of a very particular kind of contemporary breakdown.

Rick Guistolise emerges from Columbus, Ohio with a debut that announces itself like a thunderclap across the post-rock landscape. Recording under the moniker Mountains of Heaven, he has crafted a double album that refuses to whisper when it can roar, yet knows precisely when to pull back into hushed, reverberant contemplation.

In an age when the average pop song clocks in at under three minutes and TikTok has conditioned listeners to judge music within fifteen seconds, M.D. Trello has thrown down a gauntlet. *Horror Vacui*, the latest offering from his long-running project The Kiss That Took A Trip, is a single composition stretching beyond twenty minutes—a sprawling, unapologetic rejection of streaming-era economics and the tyranny of the algorithm. It's a risky manoeuvre, to be sure, but one that speaks to an artist uninterested in compromise and deeply committed to the post-rock principles that have animated his work since the project's inception in 2006.

The solitary artist, liberated from the constraints of ensemble compromise, often discovers their truest voice in isolation. Komaframe, the Roma-based multi-instrumentalist who has traded the democratic friction of band life for the autocratic freedom of solo creation, arrives with "Working on a New Brain"—a title that promises cerebral recalibration and delivers precisely that through forty-odd minutes of meticulously constructed sonic architecture.

The resurrection story behind HamHead's "Sling" reads like the plot of a particularly ambitious concept album: three musicians who cut their teeth together in the late 1980s, separated by geography and circumstance when drummer Jeff Plate departed for the bright lights of New York and a tenure with heavy metal stalwarts Savatage, now reunited through the democratic miracle of broadband connectivity. What emerges from this digital séance is an instrumental piece that manages to honour the ambitious architectonics of 1970s progressive rock whilst sidestepping the genre's tendency toward self-indulgent excess.

Tritonic have delivered something genuinely extraordinary. 'Oh, Sinai!', the final single from their forthcoming album 'Bend the Arc!', represents not merely a progression from their previous work but a wholesale reimagining of what hardcore music can achieve when ambition meets conviction. This is fearless, visionary work from a band who've consistently refused to colour within the lines.

vostoksounds is a musician and producer from Norwich, England who has a release we just couldn't ignore. At the end of last year, vostoksounds presented his solo EP 'Frameworks' which contains 4 musical compositions.