ALBUM REVIEW: Oscillate – pg.lost

It is very difficult to describe the feeling that post-rock can bring with words alone, but with that said, the main purpose of this review is to try and translate one of 2020’s most awe-inspiring soundscapes into mere letters on a page. For every typecast band in this genre that fights among itself for the longest track lengths – or the most absurd album titles – there is one that has the ability to set the world alight; PG.LOST.

Quite frankly, Oscillate comes bearing its own flamethrower. It feels a little bit like sifting through a river of silt with nothing but a rusty sieve, only to look down and finally see the shimmer of gold peering through the mud. Any long-standing fans of the Swedes will be well aware of their ability to craft some of the finest post-rock inside the sun’s orbit, and rest assured, from the second the title tracks opens proceedings, we can all breathe a sigh of relief. It’s all immediately there; the sinister ambience, then a build up of elegant guitar, a growing crescendo that is impossible to shut down from.

PG.LOST is a band that has traversed our collective minds for years. Definitely leaning towards the heavier end of the post rock scale – and teetering precariously into post-metal territory at times – they have always had a tendancy to conjure florid imagery that feels as in-your-face as it does cathartic. As the drums cease to thud and we drift into the second track E22, our earlier relief is justified by yet further instrumental goodness. In the absence of lyrics, the music does the talking. Opening riffs become gigantic voiceless choruses that soar amongst the cirrus clouds and dive back down into sun-soaked seas.

Perhaps the most striking attribute is the balance between the instrumentation. As they have done for much of their career, PG.LOST weave intricacy at every turn, whether it be tremolo guitar building walls of noise, or belting drums offering a rhythmic thud through the album’s heartlands. As those very guitars build they fall just as quickly, tumbling as gracefully as a diving swan. Mindtrip is the same. Beginning with a very straightforward rock beat, it offers fine details that hint at the labyrinthine track that lies ahead. And perfectly on cue, it unravels piece by piece towards Shelter, which – if even possible – is one of the album’s stand out sections. Simply put, it’s perfect. Haunted vocals drift just behind the mix, anonymous yet pumping the track full of soul as it reaches a blistering post-metal finale that will rattle your teeth and burst your heart clean through your ribs at the same time.

It is pure emotion, and that is PG.LOST‘s greatest skill. It’s easy in post rock to write huge, distorted riffs and create dissonant atmosphere, but albums like Oscillate take us on a trip through our own minds. They rouse memories, wants, sadness, happiness and because of this we can truly connect with it. As Suffering takes to the floor, with it’s bouncing synths and faraway guitar gyrations, we are once again entrapped, wrapped around the band’s little finger. Waves provides more of the same. Delicate where needed, yet equally powerful when called upon, it follows a similar format to preceding tracks, yet still manages to possess its own traits.

Eraser is faster, showing a heavier, more metallic side to the band and culminating in a disorienting flood of battering percussion and crushing finesse. Finally, The Headless Man takes the album over the fifty minute mark, and allows us a moment to reflect on the record we’ve just heard. Unarguably, PG.LOST have produced one of 2020’s finest post-rock albums, but more importantly the Swedes have written a devastating soundtrack to what are equally troubled times, and it couldn’t possibly feel more needed. While we can’t visit shows and stand in a crowd with friends, high quality releases like this reminds us that music is very much still alive. In this instance, we can step back and enjoy what is sure to be considered a classic in years to come.

Rating: 9/10

Oscillate is set for release on November 20th via Pelagic Records.

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