It starts with voices. Not lyrics, not a scene-setter, just people talking about dreams they once had — the kind that linger for years without explanation. Those fragments drift in quietly at the beginning of “…Perchance To Dream,” the final track and last single from “Divination of Dreams,” the debut album by In A House Of Heartbeats. Nothing rushes. The song takes its time, letting those memories hang in the air before the music begins to move underneath them.
From there, the track grows patiently, almost imperceptibly, until it no longer feels gentle at all. What ends it is a surge of layered, heavily textured sound — not sudden, but earned — where repetition turns hypnotic and weight replaces restraint. It’s the band’s most dream-focused piece, both in structure and in intent, and it functions less like a closing statement than a long descent into something half-conscious.
The roots of “…Perchance To Dream” stretch back further than the band itself. Years before In A House Of Heartbeats existed, Paul Mccamley was experimenting with alternate guitar tunings on his own.
That initial idea stayed alive, resurfacing and reshaping itself as the group formed, until it slowly evolved into the version heard now. Over time it became a natural set-closer — a song that invites physical release as much as immersion. During a sold-out appearance at the Bay Days festival in Chelmsford, that ending went far enough that Mccamley’s glasses were knocked clean off and disappeared into the crowd.
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The accompanying video leans into the same uneasy logic. Created by Mccamley, it folds together live footage, fragments of old public broadcast films, and material captured during a live session in an art gallery. Everything is distorted, treated, and reassembled until the images stop behaving like documentation.
The effect is closer to a hallucinated montage — unpredictable, sometimes unsettling, and deliberately unsteady. The idea is simple and unsettling in equal measure: dreams operate like films we direct without realizing it, full of abrupt edits, strange symbolism, and moments that feel significant without ever explaining why. An affection for David Lynch sits quietly in the background of that approach, shaping the mood without being signposted.
Released via Ripcord Records, “…Perchance To Dream” arrives as the final window into “Divination of Dreams” ahead of its January 16 release. It doesn’t summarize the album or tie its themes into a neat conclusion. Instead, it leaves things open-ended — dense, unresolved, and slightly disorienting — the way the most persistent dreams tend to do, long after you’ve woken up.
Beyond their own record, there were other releases that stuck around. A few kept finding their way back into rotation. Check out the band’s list with their brief commentary below.
The band’s favourite post-rock/metal releases of 2025:
The Grey – KODOK
What an epic rise those guys are enjoying!
Civil Service – DARK ///
Abrilliant album from our new label-mates, and we can hear a 28 Days Later influence, which we also have, but in a different way
Kusanagi – Paramanesia
Again, another brilliant release from one of our new label-mates
Deafheaven – Lonely People With Power
Absolutely love these guys and this may well be their best album since Sunbather. So heavy and so beautiful…
Mogwai – The Bad Fire
Perennial faves of course. We’re often described as a darker, gothic Mogwai
Details – From The Backroom & Size
Local friends in Southend who are excellent and destined for big things.
Turnstile – Never Enough
Love this.
Dimiscua – Dust Easter
They played at Bay Days and were excellent. They’re now one of the headliners at the 2026 Celestial Diadem at which we’ll also be performing.
We Lost The Sea On Audiotree Live EP
Incredible live session from this Australian band, one of our fave discoveries of the year.
