KAIRON; IRSE POLYSOMN
Kairon; IRSE is perhaps one of the most exciting shoegaze bands in recent memory. Not that there’s much competition in the global scene nowadays (Whirr releasing their newest and likely last album in 2019 after a five-year hiatus was, in a word, bittersweet). For the uninitiated, Finnish cosmonauts Kairon; IRSE exploded onto the underground scene with their debut record, Ujubasajuba back in 2014.
In a world of amateur shoegaze wannabes, K;I remembered that it’s best to have a song worth listening to before drenching it in reverb and serving it up. Ujubasajuba was great because behind the curtain of walls of sound they reveled in, competently written melodies and earworm hooks operated the machinery. Since then, they’ve established themselves as psych-rock masters of their craft.
Polysomn, their newest release- is perhaps the most potent psychedelic space rock experience of the year. For longtime fans of K;I, all the hallmarks of the band that we're probably already accustomed to are still here. The tight, sweet, stratospheric melodies and impeccable instrumentation that you’ve come to expect are on full display, and the dreamlike vocals of their early work make a return.
However, much like their sophomore release Ruination, saw them expand their horizons in adopting a more expansive, progressive sound - this release in turn sees them taking a hard left turn in another daring direction.
At first, I was skeptical of the implementation of electronic instrumentation they went with for the songs on this album, but the interplay between the more synthesized production and the kaleidoscopic-as-ever guitar noise create a meticulous and deliberate balance. To compare to some contemporaries, where Ruination was Dungen-Esque, this release is more akin to the music of Candy Claws.
Now, “balanced” might not be the first descriptor you would apply to this album after your first listen. “Maximalist” might be a more apt term, and take my word for it; this LP revels in its maximalism. For this reason, it’s best listened to very, very loud.
The A-side is especially euphoric. However, as with most euphorias, eventually, exhaustion takes place. By the time one reaches the end of “An Bat None”, a breather is much needed. The B-side is comparatively chill, though still quite involved. “Mir Inoi” comes a much-needed reprieve from the vertigo rush of the A-side, a refreshing dip in the oasis at sundown.
Kairon; IRSE has managed to create an album that’s immaculate but doesn’t sound sterile. If anything, one of its biggest problems is the overwhelming richness of it all. I would liken the experience of eating cheesecake on a rollercoaster. Very fun, very exciting, very delicious, but you might end up vomiting on yourself if you can’t handle it.
