Sometimes, I stumble upon an album of such elegance and serenity that I can’t help but become consumed by it. Kwoon is back with their first album since 2009. Odyssey released on February 21st and proves itself to be magical.
Kwoon come to us from Paris, France. While they haven’t released an album in fifteen years, they’ve been releasing singles and covers rather consistently. The current lineup consists of Sandy Lavallart on vocals and guitars, Nicolas Foucaud on guitars, Katia Jacob on bass, keys, and backing vocals, and Gregoire Glaichet on drums. Several guests also appear here, offering primarily strings and backing vocals.
Their music is typically labelled as post-rock, but I don’t really hear the tropes of the genre. No, the band doesn’t offer up crescendos or the same copy/paste song structures over and over again. Instead, the music celebrates subtlety and gentle rhythms. You will hear plenty of shoegazing guitar work, but also hovering keys, warm electronica, ambient space, orchestral passages, and progressive structure. Hints of indie and alternative rock elements flirt with our senses, as well.
Each song feels part of a miraculous journey, but each track also stands on its own. I think that’s why I like this album so much. There are precious few moments of high energy or rock atmosphere, but a forest-full of memorable melodies and layered stories. In its cautious and gracious exploration, the album is both soothing and thrilling.
Odyssey has twelve tracks and lasts about 55 minutes. While I love the entire album, my favorite segment lasts from tracks 4-7. The first three songs are a wonderful introduction. “Leviathan” might fool the listener into believing the album will be quite intense, but it soon gives way to “King of Sea”, a refined tale that revels in vocal harmonies. “White Angels” follows and feels like a continuation; I particularly love the second half with its orchestral textures and hopeful aura.
The next four are my favorites. “Life” feels sophisticated and quiet as it slowly rises into strings and a veritable choir of voices. “Blackstar” is an ambient electronic piece that is absolutely brilliant in its peaceful cinema punctuated with strings and piano; it leaves me full of wonder. “Last Paradise” thoughtfully rises from the ashy silence, slowly adding hefty percussion and wistful vocals. It is an end to a deeply satisfying three-track arc. Of course, while separate, “Jayne” follows and is equally as good; the spinetingling strings and classy ambience soon give way to a winding, guitar-heavy climax that is truly thrilling.
The rest of the album is fantastic, as well. I love the simple instrumental pleasure of “Wolves”, the nostalgic emotion of “Youth”, and the delicate otherworldliness of “Fisherman”. The final two tracks are another highlight, “Nestadio” being a ten-minute instrumental that feels almost like an ambient post-rock piece; it hovers in memorable shadows and melodic haze. The closer “Keep on Dreaming” ends the album on a harmonious and cinematic tumult, layers of melody and rhythm intertwining into a lush edification for all who will listen.
Kwoon is back and Odyssey is a gorgeous treasure for 2025. It evokes such an emotional response, though it never resorts to clichés or brashness. Fans of Kauan, Sigur Rós, Mono, and other such reinterpretations of post-rock will find themselves in love with this record.
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The PROG Mind 