![]() ![]() It is amazing that a pop album as stylistically and instrumentally diverse as this one can also be so unifying and consistent. As such I feel it goes without saying that I give them all my absolute recommendation.ģ1: Klô Pelgag – Notre-Dame-des-Sept-Douleurs (art pop) ![]() Even ranking them individually felt like a triviality at points. These are the ones I felt obligated to talk about. I’m hoping that, at the very least, there’ll be at least one album here for everyone, from the mainstream miscreants to those dirging up the depths for bands lost to the flow of time. I may not have the same mettle for metal as Matt, nor the same dedication to deathlessly digging up discoveries as Dæv, but I do hold my own brand of bloody odd tastes, and I’ll be damned if I’m going to let XX XX take that from me. ![]() (At least, not in this one regard…) It was enough to bring me back from the dead, after all. While I personally would not say we had any absolute gamechangers this year, that doesn’t mean the year was an absolute waste. 2020 was a bad year, and this did have a knock-on effect with the amount of music that was released as well. 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.A bit late to the party, but here we are, nonetheless. 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. 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'. 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. But 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 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. Kairon IRSE! invoke chaos as much as they create order in the heavier elements of the album, where a seemingly thrashing performance reveals itself to be quite restrained and controlled - the explosive end of 'Rulons', where the frantic melts into the serene seamlessly, is an excellent example which shows this. 'Ujubasajuba' integrates the band's previous dabbling into shoegaze fully to create a post-rock sound almost definitive to them alone, and it is this which has helped Kairon IRSE! to create an album which stands out from the crowd.Īlthough 'Ujubasajuba' throws you in the deep end with the relentlessly heavy 'Valorians', most songs tend to share similar structures which shifts between gentle psychedelica and heavy instrumental or, in the case of 'Amsterdam', vocal onslaughts. Kairon IRSE! returned in 2014 with their sophomore effort which rocked the boat in both the post rock and shoegaze worlds. ![]() Review Summary: If the shoegaze fits, wear it ![]()
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