#KAIRON MUSIC FREE#

Yet it all comes together so beautifully, as a singular idea, never lacking in harmony or compatibility.

To me, what is ingenious about Kairon IRSE!’s music is that, in all its fuzzy eccentricity, every movement is still a meticulous, highly-inventive collage of contrasting musical ideas and textures. Led by Oranssi Pazuzu’s Niko Lehdontie, the band has remained at the forefront of the European psychedelic music scene with two solid full-length albums under their belt, Polysomn being their third musical effort. 'Riding on the incredible success of their last album and their much-lauded appearance at the 2018 edition of Roadburn – Kairon IRSE!, the psychedelic-rock quartet from Seinäjoki (Finland) are back with a brand new album.

#KAIRON MUSIC FREE#

The Wire describes their music as a “viperous cocktail of space rock, Greg Lake-era King Crimson and free jazz”, and ever since their debut album, Ujubasajuba set Bandcamp buzzing in 2014, their records have been hidden classics of modern psych-rock for those in the know.” “Formed in 2009 by four inner-space travellers from western Finland, Kairon IRSE! is a rare bird, near-impossible to classify. Its purpose is to be a wall of sonic bliss.” “an Bat None” introduces the heavier side of the album.

Each song creates their own reality, filled with surreal visions and ethereal soundscapes. “With Polysomn we emphasize psychedelic chaos. By adding layers of shoegaze guitars, synths and the aggression of '70s proto-metal results in a soupy stew of noise which although can be a bit much at times, it’s an intoxicating listen.Third great and perplexing release from this Finnish post-post-everything band. Taking the atmospherics of prog and the propulsion of krautrock is pretty much just channeling the early works of Kraftwerk, Neu!, and Can, the inventors of that sound. 'an Bat None' is another example of how you can make something beautiful from chaos and make it sound cathartic, the introduction of a swirling rave synth chord adds another layer of delirious discord.Īn aggressive shift in sound is achieved by stripping everything back to just synth and percussion, on 'Mir Inoi', a weirdo space jam which sounds like a lost track by prog legends King Crimson, while the synth solos of instrumental 'Hypnogram' modernizes the freak-out music of Amon Düül to brilliant effect, here they are firmly stuck in a mid-seventies' prog vortex. 'Welcome Blue Valkyrie' slows the pace a little but ferocity levels remain high, the multiple layers sound like dozens of guitars all sync’d while playing slightly differently, the intensification is enveloping. The three-minute slow build of angular guitar, swathes of synths and trudging hip-hop beats of 'Psionic State' dramatically speed up before exploding into a thrilling piece of kosmische tension using the calm vs chaos, quiet/loud/quiet technique created by Pixies, as an opener it screams out for attention, and throughout Polysomn it’s made inherently clear this isn’t background music. Vocals are reverbed so much the distant sound of them acts as instrumentation, and the album excels when there's no vocals at all as then you can truly appreciate the sheer noise they're capable of. Chile's Föllakzoid stay firmly in the electronic area, while France's Slift and fellow Finlanders K-X-P re-model the grind of Hawkwind and Black Sabbath, on their third album, Kairon IRSE! go for the jugular by making an almighty racket which channels My Bloody Valentine in their noisiest moments as much as the mechanic percussion of Can.

Kairon music