REVIEW: Slow Crush - Thirst

thirst trap

42:13 // August 29th, 2025 // Pure Noise Records

Do you know how to adequately answer the question “what kind of music do you like?” (no, “everything” or “a little bit of everything” do not count)? I have been opting for “uh, dreamy stuff ig” recently, as that comes closest to describing my general taste. As a result (and also due to being a very professional and good-looking music critic, of course), I have been trying to figure out what it is that I like so much about this dreamy stuff. On the one hand, I love the hypnotising properties of the hazy-gazey realm: I, eh, like the vibes. On the other hand, the “typing words about music and trying to sound intelligent”-hand, I'd say that good dreamy stuff can be intriguingly unassuming in its complexity. There's something truly unique about music that can soothe you at the same time as being layered and meticulous about its sonic choices.

One band that has been an excellent example of this for nearly a decade is the Belgian-ish shoegaze outfit Slow Crush. From having recorded what might just be the best riff in the genre on the title track of Aurora to the entirety of their second album Hush feeling like a sleep deprived dream, the band have mastered the thick, grungy flavours that make for mesmerising walls of sound while remaining entirely subtle. The brand new Thirst might just be their defining record in that regard: it is the most layered and explicitly interesting the band have ever sounded, while remaining firmly floaty. Throughout the album, the band find fresh ways of incorporating unexpected elements into their music, while being entirely committed to the overarching sonic dissociation.

However, the more familiar elements might just play an even bigger role in Thirst's successes. Yes, the saxophone in “Covet” and black metal elements in the interlude fake-out “Hollow” feel refreshingly enticing, but the drums alone accomplish things no unexpected wind instrument could. The glistening single “Cherry” encompasses a truly enveloping wall of sound that utilises Frederik Meeuwis’ drums as glue to keep everything intact. The bridge feels like a tower of sound slowly crawling towards its inevitable implosion, allowing for an excellently detached conclusion that is entirely impactful. Similarly, “Haven” shines in its unique building and subsequent release of tension: while the distorted melodies are intense all throughout, the percussion refuses to be anything but near-glacial until the song’s all-encompassing conclusion. It’s one of the unassuming elements that makes Thirst such an engaging listen for those looking for one - yes, you can zone out to all of these tracks, but the rhythm section is persistently delivering excellent and unexpected performances.

Moreover, Thirst features Isa Holliday’s best vocal performance yet. While shoegaze vocals can rarely be described as “engaging”, there are several honest-to-god hooks to be found here. The title track features an extremely sticky chorus that remains smooth as all hell, while the production finds a way to elevate the vocals without making them too discernible. Most strikingly, it allows almost every song to feel like a genuine journey: few end the way they started, and if they do, the loop was only made possible by sonic twists and turns. “Leap”, for example, uses repetition in a way that refuses to make itself feel repetitive: the final minutes may contain the exact same lyrics over and over, but the increasing levels of distortion transform the section into a deeply satisfying conclusion. Moreover, this persistent evolving of the songs is what saves the sole weaker moment. “Bloodmoon” sounds a lot like a Holy Fawn song (like, a lot a lot)... until it doesn’t. Its second half bleeds the similarities into something entirely different, and allows the song to ultimately be its own thing.

I like dreamy stuff, and Slow Crush is one prime example of good dreamy stuff. Thirst is heavy, it’s ethereal, and it’s as intriguing as it is soothing. What more could you (…I) need?

9/10