By Jase W
Coming into the day a bit more well rested than yesterday to say the least, I’m back in Muziekgieterij with a fresh outlook on what is looking to be a pretty long day with some big sets.
Of course I’m back at doors, ready to catch Hanry open up the day on the main stage. The beginning of today is a slew of bands I’m totally unfamiliar with so I’m looking forward to discovering some gems in the process.
It barely takes a moment before I’m already sold on this, some real beautiful post-rock that has a similar flow to the likes of Nordic Giants, ambient and chilled sections that crash into epic moments rather than the slow burn into a crescendo. They also use some big synth elements for some added noise and texture, really getting my attention and certainly putting my head into the right mode for a day of music like this.
Whoever is doing their lightning is a real artist too, some of the colour work is brilliant and adds a lot to the live performance. It’s a real slick piece of post-rock with some interesting elements so they’ll get popped onto the list of bands in post-rock I’m gonna keep an eye out for in future, great stuff.
The Devil’s Trade are up next for me, returning this year after their Foyer acoustic set in 2025, except with a full band to lay waste to the main room. Erring a bit more towards the doomy side of post-metal, they’ve got such a meaty low end that it’s shading my chest throughout the show. Probably not really my thing specially but I really can’t fault how they sound or perform.
If you like raw vocals, slow and lumbering songs with atmospheric spacey melodies then these are someone you need to get in your ears. For a weekend like Pelagic Fest, The Devil’s Trade are right at home delivering balls out, thumpy riffs and songs that take their time. Nothing seems to scratch the itch for people here like that more than music that simultaneously grabs you by the throat and smothers you like a warm blanket!
A bit of a food break and a return to the main hall for the first of three bands in a row I’m super buzzed for this weekend, starting with Lost In Kyiv. Kicking off with a big atmospheric intro with a monologue before the riff hits, going so hard it’s literally shaking the floor of the balcony I’m on. This is the sort of post-metal and rock that’s my real bread and butter, still plenty of space for slower riffs but the use of spacey synths really scratches that itch for a bit of melody in there too.
Lost In Kyiv take you on a journey throughout their set, each song uniquely identifiable in their cadence, flow and feel. It’s often the case with post-rock that it can feel a bit same-y, despite how much I enjoy, it but Lost In Kyiv hit you with songs that have strong hooks and melodies and seldom stray too far into chilled and ambient parts.
There’s not a whole lot of audience participation beyond the odd clap-along but that’s not what this show is about. You’re part of an experience, led by engrossing music played by people you can barely make out on stage. Pelagic Fest has blessed us with a full hour of this too, despite festivals generally tending to be a bit strapped on time, which I feel hurts the band’s ability to really get a show across like this but here… absolutely not! Anyone who’s got an interest in post-rock and metal deserves to see Lost In Kyiv live, a phenomenal show in every respect.
Next up is a chance to slow things down a bit, Slow Crush. Floaty, dreamy, ethereal, all that good stuff in one 3-piece package. I genuinely think these should have been put on the main stage with a meatier PA system but they’re still crushing it anyway, so it matters less. Using their poster backdrop as a screen for a projection is a pretty cool idea too as the glitchy design of both the poster and video makes it look like a retro VHS tape recording.
Every time I see Slow Crush I’m reminded of why I recommend them so much to anyone who’s looking for bands in the shoegaze/post-music genres. They’re super entertaining live, they sound fantastic and absolutely work their arses off despite the challenges of being a modern touring band, with a musical catalogue that is super easy to listen to and echoes a lot of Deftones, Alice In Chains, Placebo, maybe a bit of Radiohead. It is definitively their own sound, that I don’t doubt will go on to be cited as an influence for the next generation of bands.
And for the third band in a row that I’m hyped for, Oh Hiroshima. Back on the post-metal trend with big crushing riffs interspersed with more spacey moments and odd rhythmic approaches. Another full hour’s worth of great stuff that runs along similar lines to The Ocean, little wonder they’re on Pelagic Records really, eh?
I did take this time to sit down and rest my legs a bit as the music surrounds me and leads me along the way through their set. As per the others, we’re spoiled with an hour long set of Oh Hiroshima, essentially nearly a headliner length show in its own right. Beautiful music to get lost in and a welcome return for the band since their similarly bloody great set at Pelagic Fest in 2024.
It’s bands like this that encapsulate the feel of Pelagic Fest and the record label itself for me. The ability to create such dreamy soundscapes to appreciate along with just the right amount of melody to keep the hook going. One of my favourite sets for this weekend and a band that I will gladly see again many times again.
After the food break, it’s time for a bit of a curve ball from Otay:onii, performing her solo set following her set with The Ocean yesterday. I’ve been informed in advance that this is going to be quite an unusual show based on people who saw her at Arctangent last weekend. She gets things started and I feel like this strongly resembles Björk, she takes the stage with a head mounted mic as discordant electronic music plays in the background while matched with her leftfield vocal melodies.
Pelagic Fest seems to have a regular spot for unexpected electronic music sets and Otay:onii definitely fits the bill for that this year. She grabs a keytar before long that honestly is about as big as she is, a pretty awesome looking bit of kit, then she’s got what looks to be some sort of flower… thing, twists it and seemingly this appears to be controlling a backing track, leaving me with honestly no idea what’s going on. As weird as this is, I’m definitely captivated by it.
She takes us on some real jarring changes mid-song that go from super quiet moments to unloading thunderous noise the next. What initially reminded me of Björk now moves towards Igorrr with a bit of Author And Punisher. To do this sort of thing as a solo performance really takes some integrity and grit, all of this performance relies on one person and every single person in this room is focused on them. I think this is going to take a bit of time to really sink in as this feels just as much as an art piece as it does a musical performance. Fascinating stuff.
We’re on the home stretch of bands for this year’s edition and it’s time for the lengthy named, Kilimanjaro Darkjazz Ensemble. Initially to start with I wasn’t quite sure given the very ambient and slow introduction but this eventually gave way to a wonderfully expansive soundscape that locked in my attention. It’s notable that in place of a drumkit, one of the members loops in sampled drums that remind me a lot of Zero 7 or DJ Shadow. This is a pretty different approach to the post-rock vibe and while I could probably do with something a bit more upbeat considering how tired I am by now, I can’t turn my head away from it all. At times these sound otherworldly, layers upon layers upon layers.
I’m finding it quite hard to really get across what I’m feeling watching this set, wonder, excitement, fascination, awe, something along those lines. This is far from the typical sort of music show I’m used to, it’s like I’ve walked into some underground club in the middle of Paris to find DJ Shadow going nuts with a brass section. I’m genuinely unsure how to process that show, I definitely need more of it though.
AA Williams up next, the penultimate act for this weekend, bringing her own brand of doomy post-metal to Pelagic Fest and playing to an absolutely rammed room. Something about her music and live show is so serene despite the oppressive wall of sound she and her band puts out. Her voice is the absolute focal point over everything though, it’s so soulful and leaves you hanging off every word she sings. Everything about her performance demonstrates her artistic vision, the quality of the songwriting, the way she performs these songs live, it’s all fully committed to delivering a performance that is on point every time. Watching AA Williams live, I’m always completely transfixed on her throughout the whole show, each song appearing as if she’s digging down into memory of the inspiration of it. Another brilliant performance from AA Williams and I really hope I manage to catch her later this year with Chelsea Wolfe.
And finally, wrapping up Pelagic Fest 2026, Slift. I’ve been quite interested to see these based on what friends have said about them but kept myself deliberately in the dark to make this a proper introduction. I walk into the main room to find a hypnotic pattern playing on the screen behind them and some super loud spacy sounding stuff blasting into my ears immediately. Within moments I already feel like I’m watching something halfway between Muse and King Gizzard, this is bloody interesting! Whatever tiredness I had prior to walking into this room has totally evaporated, good god, what is this!? This band is putting out some of the fattest riffs I’ve heard in ages, there’s almost zero scope for any subtlety here, it’s just full on balls to the wall riffs! This is a real testament to just how much noise three people can make. I’ve also noticed that their layout on stage is a bit different to normal as their drummer isn’t hidden away at the back of the stage but in direct line with the guitarist and bass player.
So far I think everything about Slift is about as non-conventional as you can get without playing some mad niche instrument. There’s bits of psychedelic rock, space rock, blues, punk all mashed together. I’m genuinely blown away by this and I genuinely thought I’d be too tired to really make the stretch to 1am this morning to see this set out but I’d be a bloody idiot if I didn’t see this through. This is so incredibly over the top I don’t even know where to start but I am fucking loving every moment of this! Genuinely what a fantastic way to play out this year’s edition, this has been a real special set to witness that’s fully engaged me with Slift and I’ll be making damn sure I know them a lot better in preparation for their November show in Amsterdam. What an immense band that has totally knocked me out.
Thanks again Pelagic Records, you’ve outdone yourselves with this year’s edition.
Review content © Über Röck 2026.