Band:	K L P S
Album:	K L P S
Style:	Post-metal
Release date:	March 07, 2025
A review by:	musclassia

01. Subverse
02. Katarsis
03. Tribulation
04. Nattsvart
05. Undertow
06. Aureola

Last time we checked in with KOLLAPS\E, the Swedes were struggling to forge their own identity due to similarities between their name and those of peers within the same sphere of music, as well as similarities between their music and the vast majority of other post-metal. A name shake-up has addressed one issue, and the first few seconds of this new self-titled album indicate that K L P S intend to address the other issue as well.

Sometimes it’s good to remember that it’s fine for a band’s debut album to not be a modern classic; a good album that leaves room to improve can be an important step along the way for an ultimately successful group. Phantom Centre pretty much fit the bill on this front, with a good overall level of competency and some occasional standout moments ultimately failing to elevate the record to a level of memorability beyond what can be expected of a typical release within the post-metal genre. Still, it’s a solid foundation to build upon, and after undergoing a second rebrand last year to K L P S (having already changed their name once previously, switching from Eye In The Sky to KOLLAPS\E in 2018), the group sound rejuvenated on K L P S (which is perhaps ironic, considering half the album’s recording line-up departed prior to release, meaning that the band’s line-up underwent rejuvenation after the album’s completion).

“Subverse” is a pretty striking opening to the album; the frantic, noisy, jagged hardcore-leaning aggression of the initial minutes to the song is wholly unlike anything heard on Phantom Centre, and the abrasive nature of the sound takes listeners back to the harsh early years of the genre shaped by albums such as Celestial. Having said that, the song then surprises in a completely different way later on; a sudden tranquil lull after that harsh opening salvo heralds a transformation to a warmer, lusher tone for the rest of the track, which is taken into overdrive by a sumptuous tapped lead guitar part in the climactic stages of the song.

The track’s title feels apt for how “Subverse” subverts the expectations of those acquainted with the band’s previous work; however, K L P S perhaps subverts expectations again as it progresses, because “Subverse” is by far the boldest and most distinctive song on the album stylistically, with none of that initial abrasion recapitulated at later points. Nevertheless, the album is not bereft of other surprises; the phasing synths that introduce “Katarsis” and also weave their way into the second half of “Undertow” are a nice touch, as is the extent to which closing song “Aureola” crosses over from post-metal into heavy post-rock with some of its blissful texturing.

That being said, K L P S is more notable than Phantom Centre not necessarily due to slender improvements on the originality front, but because of a marked improvement in songwriting quality and consistency. “Subverse” may be the most memorable song here, but each of the others has strengths and defining characteristics of their own; for example, “Nattsvart”, which is the grimmest-sounding track here outside of the aforementioned opener, has a real menacing heft to its heavy portions, which is contrasted very effectively with a really gloomy melodicism in the final couple of minutes.

“Katarsis” and “Tribulation” are both quintessentially from the school of Cult Of Luna, but with satisfying heavy riffs, sedate lulls, and transitions in between; “Tribulation” in particular charms effortlessly across its prolonged softer middle portions, which makes the return to aggression jolting yet rewarding in its own way, particularly as the edge of said intensity is gradually smoothed off with lighter melodic textures. “Undertow” carries a similar energy, but the aforementioned pulsating synths that slide their way into the action around the 4-minute mark instigate one of the most engaging and evocative sequences on the record.

Ultimately, K L P S is as much ‘of a genre’ as its predecessor was, and is similarly unlikely to convert those not already fond of post-metal, but with upgrades on the songwriting front and some notable stylistic flourishes, this new record, while not challenging the true standout releases within the genre, is far better placed to find this band a wider audience within the style’s existing fanbase.