![]() I wrote for a while for Live 4 Metal but switched to Metal Team UK in 2007. We got the label and a European tour with Aeternus, and as the promoter’s plane was delayed, I finished up setting up the band’s first concert in Hamburg on 28th November 2006. I managed the band Devillish Impressions, which was an exciting time as we had an album but no label or distribution method. For preference I now listen to black metal, heavy progressive music, Scandinavian-style melodic metal and any style which has an edge, or is downright unusual or bizarre. The ambience intrigued me, and through magazines and concerts I discovered new territory in the late 90s. I really switched to metal when I first heard Dimmu Borgir. I’ve been obsessive about music since the late 60s and early 70s when during my childhood in Grimsby I used to watch Top of the Pops and bought 7” singles after saving up my pocket money. There’d been plenty to feature on here.Įnjoy the dreamy ride through space. Strangely it didn’t have a special impact but it was ok. It’s kind of pop, and always has that electro heartbeat but above it’s a fun, dreamy, heart-warming track, well for me anyway. There’s a nice transformation to the dynamic “White Flies”. And it’s very 70s as is much of this well-produced psychedelic journey. As often with expansive keyboard pieces, there’s an air of the theme tune for an adventure series about it. The rhythm strangely reminded me of a bagpipe tune. To end, the imaginary spacecraft lands, taking us into the ceremonial “Hypnogram”. Again, the electro beat calms us, before intensifying and presenting a buzzing deeper face with harmonies to match. The only surfing going on here though is on the clouds. It was only at the start of “Altaär Descends” that I realised that the vocalist sounds a lot like the Beach Boys’s Brian Wilson. The keyboard plays a steady tune like raindrops falling, but it’s the soft and mystical expanse which captures the imagination and encourages us to dream. ![]() ![]() After “An Bat None”, which I felt was an amalgam of the other pieces, our senses are shaken with the hymn “Mir Inoi”. Light and dark, waves drift across our horizon in front of us like stars through the night. “Welcome Blue Valkyrie” has melancholic depth and as ever the vocals come from the clouds. But commendably this doesn’t sound like anything. There’s definitely some 70s prog pomp about all this, which has no doubt led to comparison with King Crimson. ![]() Our journey continues with “Welcome Blue Valkyrie”. The drummer is busy and electric rock rings forth. The keyboard player has a strong influence. The dreamy vocal chorus makes this colourful and occasionally noisy world seem like it’s not real, which it isn’t, and from the haziest part of our imagination. A shadowy electro rhythm marks the distorted avant-garde approach of “Retrograde”. The real point is that our mission is out there in space beyond the clouds. I guess this is the claimed “chainsawing alternative guitar fuzz of My Bloody Valentine, the sparkle and dreamscape of Slowdive”. Cleverly “Psionic Static” speeds up and as disconnected souls provide a distant chorus, a grungy instrumental line provides a hard edge. Whoooosh … to the backdrop of a calming drum pattern we are taken away into fluffy clouds. Band names apart, Finland’s Kairon IRSE! have been disseminating spaced out stuff since 2014. Not sure what the IRSE is about but I doubt it stands for the Institute of Railway Signal Engineers. A bit of psych rock here from the only band I’ve ever encountered with a semi colon in their name.
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