As the Cult of Luna already say (or rather, shout), post-metal or post-core or whatever-you-call-it is no longer confined to the cramped spaces overseas, but now it spreads.
These Capricorns come from London, and about a year ago they landed a brave contract with the indie label Rise Above (nice name). The result of this is Ruders from Survive.

In a word: massive. Massive, strong, heavy, and instrumental. If among the genres down there in that timid little corner you don't see "post-hardcore" written, there's a reason. Capricorns' music takes much more from metal and sludge (from the Neurosis, in short) than from post-rock, at least on the surface. The song-writing relies more on continuous concatenation rather than crescendos, but beware, it's not about continuous riff changes. It is all utterly harmonic (in songwriting terms) and orderly and devoted to the final result.
Riffs you could see in the hands of Mastodon slow down into a minimal atmospheric pace, then explode again with all their adrenaline content, sometimes keeping the slow flow of the atmosphere before accelerating, other times with sudden slap of distortions. Music that passes through the bones and makes them tremble with unexpected frequencies, unleashes the blood in the veins and the heart beats faster, ever faster until the end, when you really thought you couldn’t take it anymore. The rhythms stretch out again, intertwining atmospheric melodies and the rhythm restarts more and more pressing.

Also interesting is the idea of historical transposition: every song is titled with a year that outlines a historical event: the battle with which William the Conqueror sealed the birth of England, the Cold War, and others. You might say “so what?” but just try for a moment to lose yourself in your own imagination, balanced between thought, music, and instinct. Yes, this definition is good: music that travels on the razor's edge between thought and instinct. Between beauty, power, more beauty, atmosphere, and ever more beauty. Beauty as if it were raining.

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