This makes one of the biggest departures on here “Altaïr Descends”, a hugely dense and layered song with a focus on bass-heavy, buzzy synths to form a backdrop onto which the rest of the band splashes globules of color and vividity. Songs don’t have staggering, on-your-toes movements from measurement to measurement all significant change-ups are reserved from song to song. It’s not stubborn to spite itself or anything else, it simply is comfortable with its tenor and aims to stick to it to the fizzling, stirring conclusion. That’s where the stubbornness of “Welcome Blue Valkyrie”, and much of the album, comes in. All of these songs occupy minimally varied tempos without feeling like a grasp for variety – everything is like-minded and complementary, not a thin spread in hopes of pleasing all. “Welcome Blue Valkyrie” is a slower, stubborn track with an acid-drowned melodic line and wavy vocals, making way for the more ethereal tracks on the album like “Mir Inol”, a more jazz-based affair, and “Hypnogram”, a similar song to its cousin “Hypnoscape”, but a bit spacier. I’ll tell you one thing though: if Polysomn has even captured a fourth of the magic imbued in that Republic, then I’ll be booking a flight once travel gets a little less… harrowing.Īnyway, music, yes – the thing I know stuff about. “Hypnoscape” is absolutely whimsical in its execution, as if soundtracking a magic carpet ride through a history-rich locale like Rome or Berlin, or perhaps an equally impressive place in Finland like Helsinki, I’m just not particularly well-versed in that country’s culture except for music. Polysomn is a generous, yet not overblown 49 minutes of serene beauty that flirts with classical rock stylings, bores down into modern sensibilities, and pays homage to time itself with its sonic representation of the dream state, hence the album’s name (poly is Greek for ‘many ’ somn is from the Latin root somnus, meaning ‘sleep’).Īs such, much of the music here does indeed feel dreamy and wispy, a tried and true characteristic of Kairon IRSE!‘s previous music as well. I just wanted to be, and Kairon IRSE!‘s music was always primed for an experience like that. It’s everywhere – probably the primary ingredient – but the crux of it all is its amalgamated nature that serves a lovely atmosphere for you to wade in like a pool of cool gelatin, or so I assume.Ĭoming off of the borderline masterpiece that Motorpsycho released a little bit ago, I felt more than prepared to bask in this Finnish quartet’s bright, kaleidoscopic lights to rend from myself all the stuff I had to worry about in life. You get progressive rock, post-rock, ambient, a little electronic, and a lot of psychedelic overtones… and undertones. The reason why I fell in love with them is, like the best do, they play fast and loose with genre and sound. That’s about as average of a story a fan could tell you, but where my story lacks any gripping action or mysterious subtext, the music of Kairon IRSE! itself more than makes up for it. I was a fan ever since hearing that album, and after taking in their 2014 effort, Ujubasajuba, I was hooked and wanted more. This is why I was elated when Kairon IRSE! announced an album earlier in the year, a follow-up to their stellar Ruination released back in 2017. After all, I’ve had my fair share of enjoyable heavy listens this year. Seems like I went from listening to some of the heaviest shit imaginable last year to the most soft and gentle stuff this year, to make some generalizations.
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