And that’s how it goes out, as the song never reaches its climax, it just dies out ashamed, covered in static, masking that fact that it never truly reached the promised land.Īt this point, the album is way up there, in space I mean, floating adrift, some parts are broken, fuel has been leaking from three songs ago (if we didn’t lose the whole tank), and it just doesn't look too good. You both want it to be over, but no one will stop and admit it. It’s like a long, sweaty fuck after you and your partner have cum several times and you both know that there is no end in sight. "Altaïr Descends", which has nothing to do with Assassin's Creed in space, is a constant build up, a long, arduous phase of our trip to Venus in search of the truth. "Mir Inoi", this is where things get a bit dense. Ok, I made that up, but listen to me, this is another highlight, not quite the banger as that opening gem, but it has some moments, like that maddening synth penetrating your right ear (please tell me you are listening to this with headphones). You may have heard "An Bat None", their song about that time that Batman went to space.
With the exception of the two last tracks (out of nine), every track spans an average of six minutes, which is quite the generous time, especially when the band goes on autopilot, relying on ridiculous amounts of fuzz and phaser effects to sustain Dmitry Melet's hazy vocals. Three tracks in and the albums starts to feel lighter, like it's slowly dissolving with every note and beat. One of the singles, "Welcome Blue Valkyrie" follows suit, but we are not out of the stratosphere just yet, still, we’re coming close. Melodies are less ambitious, dirtier, grittier, sharper, closer to the band's early sound. There are so many effects going on that the whole thing feels like liquid LSD flooding your brain.
"Retrograde" lowers the intensity and that’s O.K. There's the Kairon IRSE! of legends foretold! But let's keep going. Seriously, I love the damn chorus of this thing: a sweet vocal line summoning a storm of guitars, backed by a robust bass line and swinging drums. Polysomn starts strong, with flanger’d guitars over a sexy beat, trying to induce you into a dream-like sequence taken from the Great Lebowski, but don't be fooled, because after a couple of minutes, the band ups the tempo, noisy drums kick in and we are en route to the stars with a fantastic blend of heavy psychedelia called "Psyonic Static". Ruination followed 3 years later, more psychedelia, less shoegaze, but still proving they were brilliant, and quite unique in their craft.Ĭome the end of summer of this dreadful 2020, we find life on Venus and Kairon IRSE! releases a new album. Not exactly their debut, but the album that put them in the spotlight in shoegaze circles, Ujubasajuba came out 6 years ago now, positioning them as that one band you would want to keep on your radar. I've been there, I know what it takes to find life on Venus, and Kairon IRSE!, the band from Kaustinen that baptized themselves as the first result that came on screen after throwing the keyboard against the wall, knows it too. But the Finnish? Oh, hell yeah, just check for yourself, this, their latest record, Polysomn.
After all, I wouldn't send anyone from, I don't know, Tame Impala! Those guys wouldn't fly higher than a three-store building, at least not anymore. Yes! That seems the most accurate theory in my opinion. When they recently announced that life was found on Venus, how, when and who came to this conclusion? We almost burn to a crisp the last robot we sent to Mars, so the chances of a space ship reaching even further and closer to the sun aren't less than minimal? How did we do find it then? A larger telescope? Fortune-telling? Or did they just lock four dudes from Finland with an absurd amount of psychotropics in a recording studio until they reached such enlightenment?
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