Review: Blackwater Holylight ‘Not Here Not Gone’
Way back in October of 2021, I had the privilege of reviewing Silence/Motion, the third album by Portland Quintet Blackwater Holylight. At the time, I had been really impressed by their evolution from previous releases and had considered them to be heading into a realm of dreamy shoegaze, which, if memory serves me well, I compared to the likes of Warpaint. For me, this was no issue, as I’ve always had a soft spot for Warpaint, and so the comparison was a welcome one for sure. Well, probably to me at least.
Stepping forward to 2026, and here we are again, the new Blackwater Holylight has recently been released on Suicide Squeeze Records, and even though five years have passed, based on their newly aired sound, it appears that Silence/Motion was a whole lifetime ago, and dare I say it, a completely different band entirely. This may not be true, but sonically, it’s like they have overhauled their sound and taken a bunch of risks, which have paid off fantastically.
On their new opus, Not Here Not Gone, we find that having relocated to Los Angeles, a sunnier spot for them, has given them a newly invigorated sound. While there are still those trademark nuances, this time around it feels a bit more organic. It’s like they have more freedom to flow, and the allowance of letting things happen naturally has given their music a chance to step outside of its comfort zone and push their sonics forward.
At times, garage rock, while at others, more spiritual shoegaze, as the one thing they have always excelled at is throwing it all into the mix, shaking it up, and seeing what sticks. Yes, the sludgy and doomy side is still there, maybe even a little heavier than on Silence/Motion, but there’s also a new niche, ‘dream grunge’, which wonderfully interjects some angst into the whole affair.
Over the course of the ten tracks, what is evident is that the album feels more personal and less motivated by a need to create output that serves their existing audience. It’s as if they have stopped worrying about every little detail or whether the music will be well received, simply giving themselves the freedom to experiment. The resulting sound feels far more urgent and less polished, creating a sense of danger that it could all go off the rails at any given moment.
Opening with How Will You Feel, it’s instantly obvious that there’s a grittier tone than on previous releases. Picture a sludgier Warpaint, equally as vibrant as their early days, but with a fresher, riskier vibe. Grungy guitars and ethereal clean vocals usher in the piece, and once the bass and percussion pick up the backline, it harks back to late ‘70s/early ‘80s garage rock.
The dark shoegaze undertone floats eloquently…
For those old enough to remember, The Bangles started life as an energetic punky garage rock band, and while times have changed, and sludge and doom have become more evident, the same fundamentals still exist. And that’s what’s happening – a more organic, emotionally charged ‘all guns blazing’ sensibility, and they are all the better for it. Perhaps the relocation has been more pivotal than just a change of scenery.
Involuntary Haze, track two, is as eclectic and moody as we are accustomed to, yet it’s still a nice evolution to their sound. It’s darker, yet prettier in the gloom somehow. The dark shoegaze undertone floats eloquently through the entire piece, and just as the title implies, the fuzzy ‘haze’ gives it an air of otherworldliness. Mourning After has that same tone – hypnotic and utterly entrancing.
A particular highlight for me is Bodies, partly because it reminds me of Dirt-era Alice In Chains. Maybe it’s the grittier grungy feel, perhaps the Jerry Cantrell-esque guitar chugs resonate on a deeper level – I just can’t get past that comparison. The same is evident on Heavy, Why? – It’s the downtuned sound and the drudgy slow doomy feel that strikes a chord.
Elsewhere, Void To Be showcases a more versatile side, the yin to Bodies yang, if you will. It has a vibrantly uplifting energy, and when it plays, it is like hearing an entirely different entity every time. There seems to have been a real awakening on Not Here Not Gone, and this track is one of those defining moments.
There’s a euphoric high that hits over the course of the five and a half minutes, which I pinpoint as a monumental step forward for their sound. Impassioned and beautiful, this is Blackwater Holylight 2026 – turbocharged and lusting for life. The closing track, Poppyfields, signs the album off with one last comforting embrace – be ready, it will take you on an adventure unlike any other.
I would suggest going out and giving Not Here Not Gone your full attention. Listen for the subtle nuances, breathe in the emotions and the outpourings, and kick back to the whole event. It’s a truly uplifting experience, and such a joyous return that I have been desperately waiting far too long for…
Label: Suicide Squeeze Records
Band Links: Official | Bandcamp | Spotify | Instagram
Scribed by: Lee Beamish
