Polysomn is a generous, yet not overblown 49 minutes of serene beauty that flirts with classical rock stylings, bores down into modern sensibilities, and pays homage to time itself with its sonic representation of the dream state, hence the album’s name (poly is Greek for ‘many ’ somn is from the Latin root somnus, meaning ‘sleep’).Īs such, much of the music here does indeed feel dreamy and wispy, a tried and true characteristic of Kairon IRSE!‘s previous music as well. I just wanted to be, and Kairon IRSE!‘s music was always primed for an experience like that. It’s everywhere – probably the primary ingredient – but the crux of it all is its amalgamated nature that serves a lovely atmosphere for you to wade in like a pool of cool gelatin, or so I assume.Ĭoming off of the borderline masterpiece that Motorpsycho released a little bit ago, I felt more than prepared to bask in this Finnish quartet’s bright, kaleidoscopic lights to rend from myself all the stuff I had to worry about in life. You get progressive rock, post-rock, ambient, a little electronic, and a lot of psychedelic overtones… and undertones. The reason why I fell in love with them is, like the best do, they play fast and loose with genre and sound. That’s about as average of a story a fan could tell you, but where my story lacks any gripping action or mysterious subtext, the music of Kairon IRSE! itself more than makes up for it. I was a fan ever since hearing that album, and after taking in their 2014 effort, Ujubasajuba, I was hooked and wanted more. This is why I was elated when Kairon IRSE! announced an album earlier in the year, a follow-up to their stellar Ruination released back in 2017. After all, I’ve had my fair share of enjoyable heavy listens this year. “Psychedelic chaos” might very well reflect Kairon IRSE!’s methods, but the end product on Polysomn sounds more like interstellar harmony.Seems like I went from listening to some of the heaviest shit imaginable last year to the most soft and gentle stuff this year, to make some generalizations. Concise yet overstuffed with acid-laced ear candy, “White Flies” is the album’s most direct application of dopamine to the pleasure centers, a relatively straightforward pop gem that still feels like passing through a portal into another dimension. When Kairon IRSE! dial down the din, they remain delightfully weird and otherworldly, as on the standout “Mir Inoi,” a soft twinkling dirge reminiscent of UK psych-pop outfit Broadcast, with no discernible guitars to be found-just minimal loops of eerie synths. The band puts hooks front and center on the soaring “Retrograde,” even when backed by what sounds like dozens of guitar tracks. “Psionic Static” zeroes in on the intersection of lo-fi and sci-fi, with a miasmal intro of space-age synths and crackly beats gradually intensifying and opening up the song up into an imposing, wondrous anthem. Polysomn still carries echoes of Kairon IRSE!’s rhythmic past, indebted equally to Pink Floyd’s billowing prog and Can’s motorik moonshake this time around, though, melodies and hooks are strategically placed among a labyrinth of sonic bells and whistles. Their third album Polysomn, tempers the largesse of their first two efforts (2014’s Ujubasajuba and 2017’s Ruination) with approachable art pop whimsy, producing heady, heavy results. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to trackįew bands overpower the senses quite like Kairon IRSE! The Finnish group, who describe their music as “psychedelic chaos,” practice a distinctive form of kaleidoscopic psych-rock maximalism: a sprawling yet intricate blend of krautrock, stoner rock, and prog, festooned with cosmic jazz saxophone and interdimensional synthesizer.

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