I maintain that it’s incredibly difficult to make an interesting and vibrant instrumental album. Many artists have accomplished this task, but many have failed, too. I recently stumbled across the new album from We Stood Like Kings, and after first listen, I was instantly convinced they’d succeeded. The album is called Pinocchio and released on April 10th.
We Stood Like Kings comes to us from Belgium. They are known for their reimagined classical pieces, translated in the language of rock music. The lineup includes Judith Hoorens on piano and synths, Diego Di Vito on guitar, Colin Delloye on baritone guitar, and Lucas Vanderputten on drums.
The band plays a gorgeous version of post-rock and post-metal. It is completely instrumental, but they stand out because of their consistent and cinematic use of piano. This album is heavy and searing at times, subtle and spacious in others, and always the sparkling piano creates a river of emotion, a touchstone in the towering guitar work and powerful drums.
The first two tracks immediately showcase why I love this album. It opens with “Assassins”, a thrilling and energetic knockout of a piece that has wormed its way inside my skull; I love the purpose and clarity of the writing, the huge riffs, the spellbinding piano. Then comes “The Field of Wonders”; it takes its time. It builds a velvety rhythm. It offers subtlety and nuance. It builds slowly and meaningfully. By the time the shuffling riffs hit, the song has serenaded us, has already built our trust. And so, the cinema and the careful storytelling hit harder than ever.
The rest of the album plays somewhere between the contrast of these respective fast and heavy and slow and thoughtful tracks. Some of my other favorites are “Attila of the Sea”, a rolling, spiraling piece with some truly beautiful piano right up against heavy riffs, and “Raven”, a reserved, almost ambient track that still has deep energy. I love how it rises into one monolithic crescendo, and that’s all it needs.
The last three tracks are terrific. “The Land of Toys” leans into the quiet side, like traveling into a new world. I love how it builds into different layers, adding riffs, then searing synth, but instead of a monstrous ending, it is careful and curated. “Dead Blue Fairy” has possibly my favorite riff on the album, being muscular and sinister. The track plays back and forth between wicked riffs and magical piano interludes. The closer “Addios, False Friends” is a perfect ending with its slowly building, storied cinema. The riffs are mostly gone, instead leaning more into gorgeous piano and leering lead guitar licks. I love the haunting feelings it leaves with me.
We Stood Like Kings has created a bold and picturesque instrumental album. It is vibrant, speaking with hidden voices and old stories. I love the meaningful guitar work and the wonderful piano that work together like friends, like lovers. I think any fan of progressive music of any type could love this album.
______________
Find We Stood Like Kings online:
______________
The PROG Mind 