Kairon Irse

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The Defect in that one is Bleach/ We're Hunting Wolverines (2011), 5/10
Ujubasajuba (2014), 6/10
Ruination (2017), 5/10
Polysomn (2020), 4.5/10

Finland's quartet Kairon Irse debuted with the immature hybrid of post-rock and dream-pop of The Defect in that one is Bleach/ We're Hunting Wolverines (2011), but, leveraging the twin-guitar attack of Lasse Luhta and Niko Lehdontie, and a thundering rhythm section (drummer Johannes Kohal and bassist/vocalist Dmitry Melet), became a more energetic band on Ujubasajuba (2014). If Valorians is a bit too derivative of My Bloody Valentine and 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), Swarm (9:40) soars to a level of noise (mixed to a folkish undercurrent) that is not trivial, although not groundbreaking either, and Rulons (8:26), possibly the highlight, is an explosive mix of thundering guitar distortion and jazzy saxophone that goes insane (somehow evoking the vision of a punk-ish version of Colosseum). The post-rock aesthetic of alternating loud and soft sections is still visible in Tzar Morei (9:44), but the "loud" is crushing stoner-rock a` la Kyuss and the "soft" is psych-pop a` la Electric Prunes, and the tone is grandiose if not exuberant. Unfortunately, the album ends with the lame pop tune and the amateurish Motorpsycho imitation of Les Moh y Gribi (10:54).

The pop temptation is obvious on Ruination (2017). Sinister Waters I (12:19) begins with a litany that sounds like vintage Yes. and so does the synth-driven opening theme of Sinister Waters II (13:08), while that refrain that surfaces four minutes into it is a trivial folk-rock tune (the instrumental coda of this piece is perhaps the highlight of the album). 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..

Polysomn (2020) embraces a more electronic and sleeker sound. The album has one good song, that is one of the best of their career, Altair Descends, evoking the dreamy Pink Floyd of the early days. The rest is filler, pop ballads camouflaged like prog-rock (Welcome Blue Valkyrie) and amateurish jamming.

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