{"id":1036956,"date":"2026-06-19T14:59:17","date_gmt":"2026-06-19T14:59:17","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/1036956\/"},"modified":"2026-06-19T14:59:17","modified_gmt":"2026-06-19T14:59:17","slug":"review-loneshore-nothing-left-to-deconstruct","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/1036956\/","title":{"rendered":"Review: Loneshore – Nothing Left to Deconstruct"},"content":{"rendered":"

\n\"\"Album art by: David Preissel<\/a> (photograph)<\/p>\n

Style: Post-metal, doom metal, progressive metal (mixed vocals)
Recommended for fans of: The Ocean, Swallow the Sun, Katatonia
Country: Brazil
Release date: 19 June 2026<\/p>\n

The relationship between genre and theme is a surprisingly robust one. If I name a genre, you\u2019re probably going to have some fairly accurate assumptions about the sort of topics that a given band playing that genre will explore. Death metal, for example, often leans on horror or sci-fi imagery, and at its most extreme gets into uncomfortable body horror and gory murder stuff. Goth rock gives voice to the indecent horniness of the chronically undersexed, while goth metal embodies the existential melancholy of the post-coitally unfulfilled. Nu metal is about being mad at your parents. House music is a manifestation of a desire for stimulants. Country is about owning a truck, and wishing certain folk couldn\u2019t vote. I could do this all day, but we\u2019ve got a review to get to! My point is, when I say \u2018post-metal\u2019 you probably expect philosophical musings about the self explored through earth sciences metaphors.\u00a0<\/p>\n

But you\u2019d be wrong! On Nothing Left to Deconstruct, Loneshore <\/strong>craft a concept album about the Great Molasses Flood of 1919, in which a storage tank containing 2.3 million US gallons of molasses burst resulting in a wave of molasses smothering the Boston harbour, killing 21 people and injuring 150!1<\/a> \u2026Nah, I\u2019m kidding, it\u2019s more nature-of-the-self-based musings through a geographic lens again. Eight years after their debut, the Brazilian group return with a record that sits somewhere between the compositional trappings of post-metal, the intensity of melodic death metal, and the melancholic drudgery of doom. The result is a cocktail of The Ocean<\/strong>, early Katatonia<\/strong>, and Swallow the Sun<\/strong> with a somewhat late nineties gloss on their modern post-metal core.\u00a0<\/p>\n<\/p>\n

Loneshore<\/strong>\u2019s use of clean vocal harmonies throughout the album make for a melancholic focus which provides some standout moments, particularly the rhythmic backing chants on \u201cOf Lost Waters\u201d that accompany Luiz Felipe Netto\u2019s increasingly pushed-back crooning. His harshes have a blackened gnash to them that\u2019s functional but can come across a little forced at times. There\u2019s enough versatility in these vocal styles to keep the listener interested. Instrumentally, post-metal build-ups and doomy tempos largely define Nothing Left to Deconstruct, but there are some curveballs in the mix such as \u201cTo Stride the Black Earth\u201d which instantly stands out as the paciest track, mixing up growls and clean harmonies, rooted around a pensive lead guitar motif that builds a sense of urgency. Closer \u201cWith Nothing We Part\u201d, meanwhile, opens in a more stripped back pure post-rock style akin to Mogwai <\/strong>before finding its way back to the metal. However, much of Nothing Left to Deconstruct sounds like doomy post-metal distillate, failing to distinguish itself beyond being a merely good entry into the genre.\u00a0<\/p>\n

And while \u2018merely good\u2019 might sound like damning with faint praise, Loneshore<\/strong> prove an enjoyable listen even if they don\u2019t always wow you. Tracks like \u201cParhelion\u201d and \u201cBirth of a Mountain\u201d play with some 5\/4, 6\/4, and 7\/4 time signatures which wrongfoot the listener rather satisfyingly. Netto\u2019s vocal performance is consistently Loneshore\u2019s <\/strong>most engaging aspect, and drummer Pedro Mercier delivers some tasty kitwork, with \u201cTo Stride the Black Earth\u201d showcasing his effortlessly clean style.\u00a0<\/p>\n

Where Loneshore<\/strong> falter is primarily in the production, which weakens the record somewhat. Tracks like \u201cStraylight\u201d demonstrate an odd airlessness to an album that should be eminently atmospheric, and that lack of ambience\u2014a bed for the instruments to lie in which often clothes post-metal\u2014is notable. The lack of a strong low end also impacts the band\u2019s ability to bite; riffs that should be seismically heavy merely trudge around. Nothing Left to Deconstruct is an overall solid work, but it struggles to transcend the confines of the studio and attain the cinematic heft that it sorely needs.\u00a0<\/p>\n

Post-metal rewards patience, and Loneshore<\/strong> are no exception. Nothing Left to Deconstruct reveals its best side slowly, but no amount of patience on the listener\u2019s part will see a masterpiece unfurl. Tighter composition and production, as well as a willingness to get more creative than their peers, will yield dividends for the Brazilian band. If you take something apart you get to see how it works and understand it more fully, so perhaps there are a few things left that Loneshore <\/strong>could deconstruct\u2014just give the Great Molasses Flood a think, lads.<\/p>\n

Recommended tracks: To Stride the Black Earth, Birth of a Mountain, Of Lost Waters
You may also like: Psychonaut<\/a>, Seyr<\/a>,\u00a0M\u200b\u00fa\u200br<\/a>
Final verdict: 6\/10<\/strong><\/p>\n

Related links: Bandcamp<\/a> | Facebook<\/a> | Instagram<\/a><\/p>\n

Label: Willowtip Records<\/a><\/p>\n

Loneshore<\/strong> is:
\u2013 Bruno Farinazzo (guitars)
\u2013 Luan Moura (bass)
\u2013 Luiz Felipe Netto (vocals, guitars, keyboards)
\u2013 Pedro Mercier (drums)
\u2013 Renan Rubim (guitars, keyboards)<\/p>\n

\n\tRelated\n<\/p>\n