Aegri Somnia – Ad augusta per angusta

…starting with this one.

I know you’ve wondered what it would sound like if someone took traditional Iberian songs from 19th/20th century and married them with doomy/deathy guitars, don’t say you haven’t. Aegri Somnia are here to scratch that itch that you won’t admit you had.

Because I don’t understand the lingo, I have to take their word for it that the subject matter visits many aspects of the Iberian tradition, both dark and light. But the sounds and the songs, plus the flamenco/death metal minus the blast beats approach, make for a wonderful atmosphere. And every time I hear Molinero-Vengo de Moler, I have it in my head for hours afterwards. It’s a kind of crushingly catchy tune that has to be heard to be understood (actually, that’s the case with all music).

They seem to want to only sell it in CD format. Now, this isn’t a criticism but a question – either a digital download or a CD both present the music in digital format, so why discriminate one over the other?

But that one gripe aside, this is a very good album.

 

 

 

 

Alameda 3 – Późne królestwo

Most artists I make public my liking for have a way with a groove. Probably a well-functioning groove is amongst the most reliable ways of catching my attention. And yet – with the greatest respect due to Kuba Ziolek – this album is not going to catch you via groove. The same is true for one of his other projects that I listed in some year end list or other a while back, Stara Rzeka. This is a journey, instead, but not one including picnics.

It took me a little while to work out why he’s used two different names, but I think I sort of get it now in a way I cannot possibly put into words. Coincidentally, the stylistic sweep of this music is such that I cannot possibly put it into words either. That’s a bit of a common theme for me.

So, it’s heavy in a skull crushing heavy rock, post-rock, death metal, spazz rock, jazzy, acoustic lament, fusion, ambient, at times melodic and wistful way – on Tzimtzum I think he tries to capture every single style he’s ever attempted when laden with a guitar, and it most certainly would not be out of place on Ipecac records.  At all times the music is overlaid by guitars so thoroughly drowned in reverb that it’s as if he’s replaced the Baltic Sea with reverb and recorded them there. But it is intense, and if you don’t want intense today, go and listen to this instead. However, if I’ve piqued your interest and you do want intense, well, Kuba’s your man, and not for the first time.