Review
Bleaklow
The Sunless Country

Independent (2011) Sarah

Bleaklow – The Sunless Country cover artwork
Bleaklow – The Sunless Country — Independent, 2011

Though a lot of post-anything music can, using a single theme, reach past the 10 minute mark without necessarily becoming repetitive or stale, there is still a point where too much is too much. You can only listen to embellishment and variation on one theme for so long before you start to go mad and beg for some variety. I'll be honest, that's pretty much exactly what I had expected this single epic-length post-metal track to be. Thankfully, Bleaklow's EP The Sunless Country, a single 20-minute song, is a perfect example of taking some lessons from the common pitfalls of a repetitive genre and building them up to a more interesting, progressive result.

What I appreciate most is that "The Sunless Country" feels like more than a pointless string of unrelated doodles--themes are reprised and built upon, disparate sections maintain a constant, related tone, and the piece never seems to take random steps into left field. It's not merely a wandering, aimless 20-minute exercise in musical endurance; it has a distinct character and substance that make the piece feel like a cohesive whole. Granted, some of the main melodies do feel incredibly simplistic (the first major theme we're introduced to, for example, is comprised almost entirely of a single chord). And while that may just be a symptom of the genre, I can't help but feel that there could've been just a little bit more localized variety at times. But overall, the piece sounds unexpectedly fresh.

The band's instrumental proficiency and discipline is incredibly clear. While their playing is often very controlled understated, there are numerous places where the music betrays hidden underlying depths to the musicians behind it. There are numerous small bursts of complex drum fills and frills that come and go so quickly that they're easy to miss, and the guitarist only allows himself one heavily reigned-in solo in the second half of the piece. But you can tell they're holding back, not out of incompetence, but of respect for the lighter, reserved nature of the piece. Their technical proficiency tends to manifest itself in the subtle complexity that underlies their guise of simplicity. The song reminds a lot of Gojira in places, especially during some of the intricate polyrhythmic sections. There are also hints of Vildhjarta in the quick, rapid-fire rhythmic patterns towards the last quarter of the piece, one of the few moments where the band really lets loose.

In general, it's a welcome release with plenty to digest. Any fans of post-metal or instrumental prog will certainly take a liking to this EP. It's short and sweet, incredibly well done, and also available to download from the band's website for free. Did you see anything resembling a downside in that sentence? I didn't think so.

7.5 / 10Sarah • April 2, 2012

Bleaklow – The Sunless Country cover artwork
Bleaklow – The Sunless Country — Independent, 2011

Recently-posted album reviews

Alien Nosejob

How A Mosquito Operates
Anti Fade, Iron Lung (2026)

The one-man band of Alien Nosejob continues to crank out short, angry hardcore in quick bursts. I've lost count of how many records Jake Robertson has now released under the name. I'll just say that while the first couple took some direction changes, the project seems to have found its footing in 1980s-influenced hardcore. With 17 songs in 24 minutes, … Read more

Cancer Bats

Give Me Dirt
Marshall Amplification PLC, New Damage records (2026)

ALBUM HIGHLIGHTS – “Bright Eyes of Gold”, “Give Me Dirt”, “Long Tooth”, “Fools Like You” Almost exactly two years ago, on 8th August 2024, Cancer Bats played Conne Island in Leipzig – a choice they would live to regret. Unbeknownst to them at the time, the centre had slowly become renowned for its radical politics and, more recently, the ban … Read more

Tyler Sonnichsen

The Dead Milkmen
J-Card Press (2026)

When I saw The Dead Milkmen at Toronto’s Diamond Club back in the late 1980s, the floor was a volatile, beautiful mess of colliding subcultures. It was like different species of house flies bumping into one another, wondering what the hell you were doing in the mason jar. You had suburban high school pocket-pen-protector pencil-neck nubile nerds, college radio snobs … Read more