Hangover In Minsk is a female-fronted depressive
post-black metal band formed by members from Poland and Belarus. The project
was born unexpectedly in 2024 during a hungover van ride after Dark Easter Metal Meeting, when musicians from Dymna Lotva joked about starting a band that
captured the feeling of drinking through despair. One year later, the joke had
turned into something real: a debut album, "Party Is Over," and their
first live appearance at the same festival where the idea began.
The band’s
music explores the blurry line between euphoria and emptiness, mixing
depressive black metal with post-rock influences. Vocals come from Nokt Aeon, while guitars and bass are handled by Jauhien Charkasau, joined by Mikita Stankevich on guitar and Wojciech "Bocian" Muchowicz on drums.
Guest appearances from Déhà and Kim Carlsson add extra weight to the emotional
depth of the album. The shattered glass heart on the cover is no metaphor—it is
an actual bullet-pierced glass heart, a direct and literal image of what this
release stands for.
"Party
Is Over" is an album that walks through the stages of intoxication,
regret, and the heavy silence of morning afters. It opens with "Farewell,"
where sorrow immediately becomes the main character. From the start, the sound
mixes black metal’s bleak aggression with post-rock’s drifting atmosphere,
creating music that feels both distant and painfully close.
Tracks like "Drunk And Beautiful" and "Devil In Me Wants To Dance" carry a strange mix of joy and despair, almost as if celebration is used as camouflage for grief. The presence of the drunken choir adds a raw, almost absurd touch, but it fits the concept—the laughter and chants sound fragile, like they could collapse at any moment. "Fuck You, My Love," with guest vocals from Déhà, is one of the emotional peaks. His voice deepens the sense of brokenness, giving the track an extra layer of suffering. Later, "Morning Mourning" captures the emptiness of waking up after the chaos, stripped of all illusion.
The album closes with "Party Is Over," featuring Kim Carlsson, a figure long connected to the DSBM scene. His presence makes the finale hit even harder, turning the end of the night into something like an eternal goodbye. The sound throughout the album is heavy, guitars shift between sharp tremolo riffs and long, reverb-soaked passages. Drums are steady but always giving the songs their backbone. Vocals range from piercing screams to spoken-word and broken chants, embodying both the intoxicated highs and crushing lows the album narrates.
Hangover In Minsk have
managed to take something that started as a half-joke and transform it into a
painfully sincere musical statement. "Party Is Over" is less about
drinking and more about what hides behind it—the endless spiral of searching
for comfort and the inevitable collapse that follows. It’s dramatic, tragic,
and oddly relatable for anyone who’s stared too long into the bottom of a
glass.
Score: 7.3
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