Album Review: Aesthesys – Achromata

aesthesysAesthesys – Achromata

Post-Rock | Progressive Rock


Rarely when I listen to an album based on the cover alone does it disappoint, and this new release from Russian instrumental band Aesthesys is no exception, proving to be every bit as vibrant and detailed as its cover. There’s been a real resurgence of the violin in rock music in recent years, but in this instance it somehow feels more natural. Many bands have the violin constantly stealing the spotlight to emphasise its use, and while it certainly has its moments to shine on this record such as on album centrepiece ‘Himmelbarn’, for the most part it combines seamlessly with other aspects to help form the dramatic soundscapes that this album excels in. There’s so much here to bask in that you will still be finding new little nuances years down the line. The first couple of tracks play around with hints of electronic elements, ‘Marea’ boasts some of the record’s most emotive bass tones, while the mellow piano led ‘Eosfyllon’ concludes the album in a suitably moving fashion.

‘Melanocardia’ certainly stands out as the record’s climax. Seething with menace, the dark brooding trail it weaves feels worlds apart from the rest of the songs on the album, yet at the same time deeply familiar, like a black and white sketch of a bright colourful world. While for the most part Achromata has all the instruments working in perfect unison, all equally important pillars in holding up the world they’ve created together, and yet I can’t help but keep coming back to the drums. Particularly on tracks like ‘Apogeion’ the band manage to make the drums feel like the lead instrument in a way that so few acts can really pull off. This is the pinnacle of instrumental releases, it’s the kind of music they send off into space as an example of the human race’s artistic achievements, and I urge you all to revel in its grandeur.