The lighter shoegaze parts of 'Ujubasajuba' tend to have meandering guitars and synthesizer melodies panned in each ear, creating an ethereal atmosphere to counter the heavy and imposing post rock each song develops into 'Swarm' displays a grand crescendo through unrelenting snare drum rolls and crushing bass drums to create a maddening sense of anticipation. Throughout the album, each instrument provides a complimenting support for the rest of the band with an air of modesty, yet little variations as the songs progress make all parts fascinating to focus on individually.īut regardless of which genre camp the moment belongs to, the music is so lushly and consistently layered that not a second is spent out of interest for the listener. The guitars and bass play around similar motifs throughout each song yet differences and progressions in sound and tone creates a distinction for each instrument and shows just how meticulous their writing is it is perhaps shown best as the album draws to a close in the dynamic finale of 'Les, Moh y Gribi'. Melodic trade offs between guitars, synthesizers and vocals throughout strengthen the psychedelic aspects of the album to the point where they almost merge together and it is these nonthreatening vocals that range from whispers to soaring highs which hit the ear like a soothing nectar. "Polysomn" is the third album by the Finnish shoegazers with a band name that's both hard to pronounce and type: Kairon IRSE!.Many post rock bands suffer the blight of unmemorable melodies and sterility, but these qualities are anything but applicable to Kairon IRSE! - the album showcases incredibly engaging elements from both shoegaze and post rock, and the highly energetic execution of this fusion is what makes Ujubasajuba one of the strongest albums of the two genres from 2014. You know the drill: they've played at the legendary Roadburn festival, their label is the underground treasury Svart Records and they share their almanac with Oranssi Pazuzu. What could be the most ridiculous, clichéd and pretentious name for a post-rock band? Probably millions of music nerds around the globe have entertained themselves making up faux band names while listening to music and perhaps enjoying a beer. The two guitarists were studying at Kaustinen, a municipality with a population of 4300 in Central Ostrobothnia.īut little did Niko Lehdontie and Lasse Luhta know that one peculiar day in 2009, laughing as the other one spelled out Kairon IRSE! – a name that would soon backfire on them. The village is the home of the biggest folk music festival in the Nordics, Kaustinen Folk Music Festival, founded in 1968. #Kairon irse ujubasajuba rar freeīut during the other 51 weeks of each year there's not much to do, says Lehdontie.įortunately for this twosome, the Kaustinen institute had class rooms for rehearsing and a studio – free to use at any time of day. There Lehdontie and Luhta stumbled across two other likeminded musicians. Bass player and vocalist Dmitry Melet and drummer Johannes Kohal shared their love for vintage rock in its various forms, like hazy krautrock and indie bands like Radiohead and My Bloody Valentine. "And when we started playing together, we had the band name in our sleeve already", Lehdontie grins recalling the moment Kairon IRSE! was born in 2009. Niko Lehdontie is also a member in the sinister but psychedelic post-black metal outfit Oranssi Pazuzu (read more here), and the collaborative project Waste of Space Orchestra (which we covered here). The stoner doom band Domovoyd, which is on an indefinite hiatus, is his and Dmitry Melet's band. Melet on the other hand plays post-rock as a part of the Horte line-up. "There are challenges in scheduling it all", Lehdontie admits, but denies that there would be hierarchies among these bands.īut autumn 2020 is dedicated to Kairon IRSE!, who released their third album Polysomn in September. The quartet's debut offering Ujubasajuba (2014) introduced a band jamming comfortably, while still remaining a shoegazey fundament. With its over-10-minute-tracks, their sophomore album Ruination (2017) wondered into almost jazzy ja proggy directions, in the vein of early King Crimson. Polysomn now cranks up the amps and floors the pedals back to My Bloody Valentine settings. Looking back now, it seems lack something, both sound and song wise", Lehdontie explains. "Polysomn" descends in a dreamlike atmosphere, but instead of sleepy it's energetic. And there are pop songs under the surge and roar.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |