Post metal is such an interesting subgenre. Like many subgenres, the name alone isn’t always prescriptive enough to tell you what you are getting, and even this year I have reviewed multiple releases in this specific genre that sound quite distinct from each other. What I perhaps find the most interesting is how often it relies on non-metal elements, sometimes to the point of nearly being devoid of metal elements, instrumental flourishes and vocals being the only true connective tissue to what most people traditionally consider metal. 

Enter Danish band Møl, who after releasing a couple of EPs and 2 full lengths since 2014, have dropped their latest full length, “Dreamcrush,” in January 2026. Dominant components of their soundscape are indie rock, emo, and shoegaze, though they incorporate atmospheric black metal textures that manifest primarily in the vocals, drumming, and occasional guitar riffs. If the blackened vocals were completely removed, you could convince me that I was listening to a late 90’s / early 2000’s post rock / emo band with post hardcore tendencies trending toward extreme metal in small quantities. But with those harsh vocals in the mix, combined with the regular shoegaze atmosphere bordering on the sinister feel of black metal, you get a powerful presentation that is angsty and emotional with killer melodies and an overwhelmingly heavy vibe. The clean tone guitar strums, bass, and smooth leads are complemented by heavy crushing riffs and subdued screaming leads. Laid back drumming makes way for thunderous pounding and near blasting. Emo croons are supplanted and many times overwhelmed by torturous blackened screams. Ethereal atmosphere swirls, tying together the softer and harsher elements in cohesive fashion. The melodies are fabulous, many entering earworm territory, and I find myself humming many of them long after I am done listening.  You can definitely find similarities to bands like Deafhaven, Holy Fawn, and Alcest, but you will find just as many similarities to the best of the late 90’s / early 2000’s emo / indie / post hardcore scene. Yet Møl truly crafts their own take on post metal, perhaps a bit more accessible than others in the genre, but with plenty of power and emotion that will take root in your brain long after the music has stopped playing. Their sound tickles that junction of emo/indie rock with extreme metal perfectly.

Opening song “Dream” starts out like one, a subdued aura slowly crescendoing, transitioning into a killer indie rock melody that continues to build, until it explodes in emotive fury. The indie rock melody transforms into distorted aggression, blackened vocals soaring over driving guitars and drums that maintain that indie rock sensibility. Syncopated chugs duel with eerie atmosphere and vocals, yielding to an elemental doomy wall of sound that fades out to oblivion.

“Små forlis” could very well be a late 90’s / early 2000’s emo rocker, barring the opening sinister vocals. The underlying foundation hearkens back to the early days of emo and indie rock, alternating softer clean guitar strums, a lighter drum cadence, and those oh so familiar vocals with crushing riffs and a thunderous drum kit unleashing their fury in tandem with tortured vocals. Dynamic contrast is used to great effect, with the verses coming off more subdued and the chorus hitting you hard, and the quick shifts at different places in the song add nice textures to the composition. It isn’t until about two and a half minutes in that you get your first true taste of speed, amping up from the heavier chorus to an all out sprint that feels just as much old school hardcore/screamo as it does black metal. This dichotomy sounds weird on paper and yet works so well.

“Young” offers a killer head bopping post rock guitar melody as it starts, but quickly shifts into a raging fury with thick hefty riffs powering ahead. A guitar solo gives you a nice transition, drums majestically marching forward, landing on a moody pre-chorus that opens back up to the earworm opening melody, emotive blackened screams uniquely adding to the earworm effect. Powerful riffs and drums command your attention, with screams and growls surrounded by guitar flourishes, before a near stop that fools you into thinking the song is over. Instead, a soft strum gains momentum, before a final reprise of the opening melody that adds more grandeur with layered guitars and vocals. It is this power and emotion that makes the best emo songs, and Mol has done one better with the expert inclusion of atmospheric aggression. This is easily one of my favorites on the album.

“Hud” has a humble indie rock beginning, emotive croons over a simple melody, mixing in some harsh vocals for effect. There is a pervasive shoegaze vibe that amps up significantly in the chorus, fuzzy atmosphere circulating and bass pounding as the guitars envelope you. The majestic late guitar solo flies over the drums, changing colors halfway and becoming the driving riff as the vocals reenter the mix, eventually fading out into ethereal wonder.

“Garland” is my favorite song on the album, and the first 25 seconds would easily qualify it as top rock radio material in the early 2000’s with its emo vibe and infectious melodies. The atmosphere kicks in, as do the extreme vocals and pounding drums, while treating your ears to a beautiful guitar lead. The verse returns to the land of emo, giving us more time to experience the clean croons of lead vocalist Kim Song Sternkopf. The second chorus melts into a killer instrumental bridge that starts more tame, slowly layering in the chaos as the riffing and drums increase velocity until the drums feel ready to blast. Suddenly, the rug flies out from under your feet, a simple strum with harsh emotive vocals grasps control, only to surrender to a final rendition of the incredible chorus.

Moody atmosphere paints the soundwaves as “Favour” begins, its indie rock and shoegaze influences shining strong. It spends more than half the song tantalizing you with its instrumental goodness, taking its time to build. Blackened screams oozing emotion finally make themselves known, over a double helping of shoegaze. This middle section is short lived, continuing a build that is heightened by the guitar lead flourishes and impassioned drumming, growing frenetically until it fades out.

“A Former Blueprint” has a pervasive indie rock feel, deft guitar flourishes adding brightness to the canvas that are invaded by blackened brushstrokes. The late extended guitar solo is sweeping, surrounded by fuzzy atmosphere and injected with the occasional chug. This song makes me think of what Dark Tranquillity might sound like if they did a post metal song in the style of Møl. 

“∞” is a short atmospheric instrumental that is both bright and ethereal, leading to another favorite of mine, “Dissonance.” Its cool subdued picked and strummed guitar rhythms support somber croons over a syncopated drum pattern, picking up steam in the chorus with heavier hits, harsher vocals, and thicker atmosphere. The post chorus bridge utilizes a punchy staccato rhythm that is aggressive and keeps you off balance, lifting you back up with its soaring short but sweet guitar solo. The drumming is fantastic in this song, letting loose a bit more, as do the guitars in smaller chunks. Though I would never consider Møl a prog band, this song definitely has proggy moments that add a lot of depth and texture.

“Mimic” flies out of the starting blocks, a post hardcore feel with black metal urgency connected by slick guitar melodies. The pace slightly slows, turning the mood sinister, with darker riffs and thunderous hits, menacing vocals attacking your ears. This darker vibe is retained as the pace quickens once again, only to reprise the heavier slowdown before nearly disappearing into a sea of moody clean guitar atmosphere. A bright guitar lead rises from the darkness, triumphant and powerful, daring the darker riffs and pounding drums to a duel of dark and light. A final flourish transitions into a powerful race to the finish, guitar melodies shining brightly while the drums blast and blaze, picking up speed before getting their own jamtastic feature to close things out.

After that rush of adrenaline, longest song “Crush,” which also functions as the closer and, in my opinion, unofficial title track, commences, the refrain of “Dreamcrusher” ringing throughout. It slows things down to a driving emo riff with emotive croons, briefly letting aggression reign supreme before yielding control back to the opening passage. The song navigates between softer sections and aggressive passages, mixing in plenty of atmosphere and power to complement the emotion and angst being released. The song runs the full gamut–indie and emo rock, dreamy shoegaze, and blistering atmospheric black metal–incorporating plenty of fabulous melodies to match the energy and passion. Its big feel makes it the perfect ending song for an amazing album.

This was one of my top releases from January, and I have yet to tire of it. I have lost track of the number of times I have listened to it, but I bet I would be rated on Spotify if I wasn’t still leashed to Amazon Music (but not for much longer). This is a fantastic album start to finish, and though it may have more non metal elements than the average metal album, it is absolutely a metal album you need to listen to.