![]() There's six songs I genuinely love on here, which as frequent readers of mine know, is a rare achievement. Thankfully, the pros far outweigh the cons. Think a typical Ween album - which In A Bar, Under The Sea feels awfully comparable to, especially the as-of-yet uncreated Quebec - and sprinkle some Wilco depth and substance to the field for good measure (Tom Barman is essentially proto Jeff Tweedy on 'Wake Me Up Before I Sleep'). 'Serpentine,' 'A Shocking Lack Thereof,' and 'Nine Threads' are my three weak points, but the beauty of the album lies in its versatility to appease any type of Rock fan. Of course, given the swath of ideas presented throughout these hefty 60 minutes, not everything will land. Seriously, dEUS - at times a generic Alternative Rock band with forward-flashes of 2000's Indie Rock and Pop Punk - was capable of this? Lavish and varied in all possible dimensions - be it aggressive to soft ('A Shocking Lack Thereof' to 'Serpentine'), somber to humorous ('Gimme The Heat' to 'Supermarketsong'), textbook to outrageous ('Disappointed In The Sun' to 'Theme From Turnpike') - In A Bar, Under The Sea is a fantastic epic that showcases just how talented and audacious dEUS were. Suffice to say, having heard Worst Case Scenario and bits of The Ideal Crash, I was not expecting the sheer ambition and creativity of In A Bar, Under The Sea. THE DISCLOSED TABLOID OF AN OMNIPRESENT BAR-HOPPER Those assimilate to quite the Scandinavian style though, kinda like a Paavoharju's Yhä hämärää for Rock, not Folk. Essentially, moments of elusive grandeur emerge on nearly every song 'Valorians' and 'Tzar Morei' being my two favorites, but the patterns, sounds, and tones repeat themselves throughout. There's rarely a lull here, which sounds like a compliment - and, by and large, it is - but that makes the individual identities of Ujubasajuba's songs suspect. Heavy Psych and Atmospheric Sludge Metal round out the edges. Every song here takes Shoegaze to monumental heights, merging those pleasant walls of sound with developing instrumental structures akin to Progressive Rock or even Post-Rock if it weren't so obtuse. But what Kairon IRSE!'s Ujubasajuba lacks in originality, it makes up for in sheer talent and composition. One wouldn't normally associate 2014 with Shoegaze, a niche Rock genre if there ever was one and one essentially burnt out by the turn of the century. The rest is filler, pop ballads camouflaged like prog-rock ( Welcome Blue Valkyrie) and amateurish jamming.CONVERTING SNOW TO ENERGY IN THE HARSH NORDIC WINTERS The album has one good song, that is one of the best of their career,Īltair Descends, evoking the dreamy Pink Floyd of the early days. Polysomn (2020) embraces a more electronic and sleeker sound. Porphyrogennetos (11:41) is a prog-rock suite in search of a killer melody, but, not finding it, instead ends with screaming guitars and pounding drums that any child could do. (the instrumental coda of this piece is perhaps the highlight of the album). That refrain that surfaces four minutes into it is a trivial folk-rock tune Sinister Waters I (12:19) begins with a litany that sounds likeĪnd so does the synth-driven opening theme of The pop temptation is obvious on Ruination (2017). Unfortunately, the album ends with the lame pop tune and the amateurish Visible in Tzar Morei (9:44), but the "loud" isĮlectric Prunes, and the tone is grandiose if not exuberant. The post-rock aesthetic of alternating loud and soft sections is still (somehow evoking the vision of a punk-ish version of Thundering guitar distortion and jazzy saxophone that goes insane That is not trivial, although not groundbreaking either,Īnd Rulons (8:26), possibly the highlight, is an explosive mix of Swarm (9:40) soars to a level of noise (mixed to a folkish undercurrent) (drummer Johannes Kohal and bassist/vocalist Dmitry Melet),Īnd the poppy Amsterdam (7:17) is dangerously similar to laid-back middle-of-the-road prog-pop of the 1970s ( Toto, Boston and the likes), Twin-guitar attack of Lasse Luhta and Niko Lehdontie, The Defect in that one is Bleach/ We're Hunting Wolverines (2011), The Defect in that one is Bleach/ We're Hunting Wolverines (2011), 5/10ĭebuted with the immature hybrid of post-rock and dream-pop of ( Copyright © 2020 Piero Scaruffi | Terms of Use) Kairon Irse: biography, discography, review, ratings
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