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Kairon irse amsterdam5/3/2023 ![]() Being no stranger himself to missed opportunity and overwhelming melancholy, the mood of the songs obviously appealed to The House of Love guitarist and together the pair of former Creation artists began to work the collection into new life. Nervous about the performance, Fij decided to seek assistance and got on the phone to Terry Bickers to see if he would be interested in fleshing out the project. And it was not until 2009, when he was asked to play live once again, that the songs were brought into the light. Like his own little picture of Dorian Gray, Broken Heart Surgery absorbed years of pain and regret while the singer set about rebuilding his life. Fij never played it to anybody or looked to release it to the public. When completed, the album was put into a drawer and left to lie in solitary gloom. And it's not happy holidays in the Isle of Wight that linger in his mind, but the moments of pain and loss: the girl who slipped through his fingers, the words he should have said, or the actions he neglected to take all the little things that could so easily have filled his life with love, joy and success rather than dust it with the ashes of failure. For, like that herd of elephants, Pete Fij is a man who never forgets. However deep he buried himself, though, he couldn't escape the songs which kept on coming and he saved his pennies to pay for short sessions at a small recording studio in Brighton where eleven tracks were laid down over a period of eighteen months, all capturing his downbeat mood and all eschewing traditional song structures in favour of a pared down approach where nothing unnecessary was allowed to dilute the overriding message of desolation. Pete Fij's Broken Heart Surgery had its genesis some twelve years ago when the singer, dismayed by the lack of reaction to his band Polak's second album Rubbernecking, decided he no longer wanted to work within the restraints of a group and hid himself away on the Sussex coast, dejected and out of love with the music industry. The rest is filler, pop ballads camouflaged like prog-rock ( Welcome Blue Valkyrie) and amateurish jamming.Some records come easily and some have a gestation period longer than a herd of elephants. 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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