This collision of familiarity with the utterly unexpected is the kind of psychedelia that feels far more exciting and genuine than simply rehashing the past with some fuzz and wah pedals. There are occasional nods to the past – instrumental Hypnogram feels like it could have strolled in from an 80s Genesis album had Collins and co necked a handful of pills to add to the magic – but somehow everything feels like it’s from the future. The songs on Polysomn are timeless in a couple of senses. Kairon IRSE! have produced possibly the most uplifting and exciting set of songs you’ll hear crawl from this strange underground rock ‘n’ roll world of ours this year… To make music this dense feel so spacious is no mean feat. It’s deceptively breezy music, but there are so many layers of sound at work, so many little details. Guitars and synths smear and blur into each other, surreal and oneiric but never anything less than euphoric. The airy timbres of the instrumentation leave you feeling weightless. It’s a record that you feel, if played at the correct volume, might somehow cause you to physically levitate.
You’ll notice I used the words ‘blissful’ and ‘ecstatic’ back there these are the two most apt words that I can use to convey the feeling captured on Polysomn. Strangely though the song lengths are more concise, it’s perhaps not as instant as Ruination on first listen, coming across as a slightly more textural effort, but before you know it, you’re firmly sucked into its orbit. It’s safe to say that first taste wasn’t a fluke, and that Polysomn is another absolute beauty. First single An Bat None indicated they weren’t going to steer us wrong, leaning perhaps in a more succinct direction but not compromising the ecstatic nature of their previous work. Polysomn arrives with no small amount of anticipation to those already hitched firmly to the Kairon wagon. It’s been a long wait to see where they’d land after that sprawling musical journey. They took elements, you knew in your heart should fit together, even though no-one had really managed it, and finally made it work. The rest is filler, pop ballads camouflaged like prog-rock ( Welcome Blue Valkyrie) and amateurish jamming.We last heard from these Finns on 2017’s tower of strength Ruination, a minor masterpiece showcasing a seamless blend of prog, shoegaze and possibly the greatest bass sound ever committed to tape. The album has one good song, that is one of the best of their career,Īltair Descends, evoking the dreamy Pink Floyd of the early days. Polysomn (2020) embraces a more electronic and sleeker sound. Porphyrogennetos (11:41) is a prog-rock suite in search of a killer melody, but, not finding it, instead ends with screaming guitars and pounding drums that any child could do. (the instrumental coda of this piece is perhaps the highlight of the album). That refrain that surfaces four minutes into it is a trivial folk-rock tune Sinister Waters I (12:19) begins with a litany that sounds likeĪnd so does the synth-driven opening theme of The pop temptation is obvious on Ruination (2017).
Unfortunately, the album ends with the lame pop tune and the amateurish Visible in Tzar Morei (9:44), but the "loud" isĮlectric Prunes, and the tone is grandiose if not exuberant. The post-rock aesthetic of alternating loud and soft sections is still (somehow evoking the vision of a punk-ish version of Thundering guitar distortion and jazzy saxophone that goes insane That is not trivial, although not groundbreaking either,Īnd Rulons (8:26), possibly the highlight, is an explosive mix of
Swarm (9:40) soars to a level of noise (mixed to a folkish undercurrent)
(drummer Johannes Kohal and bassist/vocalist Dmitry Melet),Īnd the poppy Amsterdam (7:17) is dangerously similar to laid-back middle-of-the-road prog-pop of the 1970s ( Toto, Boston and the likes), Twin-guitar attack of Lasse Luhta and Niko Lehdontie, The Defect in that one is Bleach/ We're Hunting Wolverines (2011), The Defect in that one is Bleach/ We're Hunting Wolverines (2011), 5/10ĭebuted with the immature hybrid of post-rock and dream-pop of ( Copyright © 2020 Piero Scaruffi | Terms of Use) Kairon Irse: biography, discography, review, ratings
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