The Airiel born in Chicago in 1997, they are among the main groups in the movement newgaze, with looks rather obvious to the British scene of the early '90s, especially a Ride and My Bloody Valentine. After years of this EP "The Battle of Sealand" is their first full length album. And after the noise passionate introduction to the world that represent Airiel I can admit that much of their work is far from successful: many times unnecessary, arid . So what? So the good news is that there is no shortage valid moments and a few among these are definitely exciting, among the best the genre has offered in recent years.
The album is populated by two types of song: a more relaxed, gravitating to the melody, with the ambition dream pop and the other more hallucinatory and Hooch. For the first Airiel are generally rather negative: in "Thinktank", "Stay" and "Peoria" would convince us on a melodic, but with few results in this vein remains valuable, however, "Sugar Crystals", thanks to the electronics of Ulrich Schnauss. With the second kind instead, when they decide to make music from the basement flooded by thick curtains of smoke, and a lot of us blindside. We analyze the best moments. "Thrown Idols " Classical music My Bloody Valentine Shoegaze to (in this case follows "You Made Me Realise" ) fast, pulled and convincing. "Mermaid In A Manhole" is even more fierce and deafening. It starts with an electric grater that in four seconds gives us an idea of essentiality of the tour, a kind of heavy psychedelia be enjoyed without inhibitions. Arriving at the apex of the so-called encounter "You Kids Should Know Better" almost constant repetition of the same magmatic series of agreements for eight minutes, feedback galore, a melody this time effectively, tangled solos to the core, these are the ingredients of the trip to Airiel. Same script for "The Big Mashup": imagine trapped for ten minutes in an electric flux of the three agreements, in an epic fought between overlapping effects guitar. All this culminating in an ideal ejaculation where all the instruments take flight towards total anarchy. With songs like these trouble to wonder what they are playing, why and for how long.
Let the budget of "The Battle of Sealand", an album discontinuous, but not at all inconsistent, that will not disappoint those who love the sound and distorted by acid rock rave party. Probably if legalizzassero LSD records like this would sell double or triple. For now, we keep our sanity and give us the Airiel as pleasant escape.