Tikahiri - Kaito no Tetamanu
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Growing out of the Gothic style, combining acoustic and heavier sounds, album "Merahi kerekere" from Polynesian group of rock circles was my biggest musical surprise throughout 2012 (the album landed in my hands two years after its release). I did not suspect, that at the other end of the globe there is a project, that with a fresh and original look to the creation could shrug, it would seem, a little stale market of an alternative guitar music, if only they were more widely known to the world.
Formation created by brothers Aroma and Mano Salmon and cellist Simon Pillard and drummer Stéphane Rossoni decided not to stay in one place and their another, published in 2011 album is far from the direction chosen for the predecessor. It seems that the brothers remembered their thrash roots - "Kaito no Tetamanu" is definitely heavier. And although there are less gothic influences here, it is still a very climax and inspiring music - the most appropriate term for the material contained on the disc is (a quite extensive) term dark rock / metal.
The first composition, "E au te hoe matai" is yet not announcing major changes. Maintained in the style of gothic rock known from a previous publication is based on play of the acoustic guitar and the clearly drawn rhythm section, in which emphasizes the role of the bass guitar. But the whole sounds more impressive and mature, the team operates perfectly, the voltage changes and differentiates the importance of individual instruments in a carried melody. I does not lack the cello, however its more important role is in the next track - "Save me my love", where its slipping over the play of the electric guitar. Here, by no doubt Gothic inspirations can be heard too. Laid-back composition is varied by a climax whisper during a momentary blanking sound, which for a while allows you escape from its hypnotic influence. Both - "E au te hoe matai" and "Save me my love" - are an expression of melancholy spirit, which also was not completely neglected in the rest of the material.
In "Kaito no Tetamanu" the group for the first time reveals their new face. Sounds clearly evocative to the howling wolves (the same ones faced by the entity that wants to be protected in "Save me my love"?) start a common run with a pack of strong, heavy riffs along the thick walls of distortion. Charismatic guitar solo, which can be difficult to find on the "Merahi kerekere", that appears at the beginning and at the end of the track, splendors the composition. But we will not hear cello and honest acoustic one - after all the pursuit should not be stopped, not to lose the trail.
Hungry for missed sounds its lack will be rewarded by "Girl" - entirely acoustic, distinguishing in the whole material – bright like reflected by the aforementioned in the text rivers’ waters sunlight reflections. Though sleepy and dreamy, you can not complain that not much is going on in it. Shifting between sounds of acoustic guitar like a warm breeze among the leaves of the trees, soothes and puts to sleep the memory of any problems, drowning the listener in an almost sentimental, straight confession of love and a willingness to surrender to the whole. Delicate, dreamy vocals, though devoid of any concerns blends perfectly together to a changes in a melody, agogics and rhythm. At first, different from other composition it can annoy - to appreciate it, I needed the time.
From this vision quickly pulls away stylistically Rammstein alike "Lala" - rock, fast composition with a clearly accented industrializing whole keybord, whose very presence was so far an unusual feature of the Tikahiri’ work. In a deceitful way conveying animal hunger of another body without bestowing it any deeper feeling reached a high place in the ratings. And there is nothing surprising in it - this is one of the most hit tracks of the band throughout its history.
In "I Want You" the group is mixing from the individual sounds a great mystery in honor of desire. Almost tangible eroticism trapped in string vibration of a cello – deep, lengthy and remaining in the mind long after died away - wakes every sensor, every nerve and causes dormant desire to tremor. Giving in to this trance, the listener is melting with music into one as during the loving act. Sensual voice and repeated like a mantra words only further imprison in a circle of flames, that do not lead to purification, but on the contrary - to sin.
"Dying from inside", in which listener is introduced by bass guitar sounds, is another stylistic innovation. Metallic character of the composition is confirmed by the fact, that the vocal expression is made here by the growl - as you can see, the group does not hesitate when it comes to experimenting in expanding their sound. Neat use of a wah-wah effect, disturbing keyboards and samples (eg police sirens) - it might seem crazy to introduce cello to everything else, but there is a method in this madness. Voltage increases, rage and aggression are spilling out of the speakers, and in listener grows a feeling of a satisfaction from communing with a perfect sound hybrid.
After a moment of respite during the "Parahata Mau a" windfall for the supporters of a stronger side of a band - "Toku mehameha" lies somewhere between "Kaito no Tetamanu" and "Dying from inside," but the impact of the industrial metal is much more apparent here. Keybord introduction to the guitar insanity driven by percussion and rhythmic throwing by dark voice of another repeating syllables, slowing beat, scrolling growl, three highlighted, ominous music keyboard notes, prolonged scream, and finally dark electronic background is definitely a recipe for schizophrenia in Polynesian.
Salmon Brothers and Company for me are the undisputed leaders in balancing on the border between mood and its unexpected changes. Aggressive "Toku mehameha" smoothly goes with cello sound in one of my favorite tracks on the album, and also the most melancholy song - "Tiaturi vau". In delicate, desperate tone (also present in the singing) takes a place a beautiful dialogue between two electric guitars and their string companion.
Two penultimate songs on the album are filled with gloomy atmosphere - a combination of Gothic atmosphere with guitar weight. In "With me or another" it is not possible due to low distortion, wah-wah effect, bass guitar, which is revealed in the verses and a dark vocals, in which the low timbre and intonation perfectly reflect the emotions communicated by words. In the vampire’ "Dark eyes" more meaningful are the bass and cello, which subsides at the end to mighty riffs, and varied vocals - from whisper passing into a low and furious to clean and quiet. Both compositions - diverse, moody and grim - take first places on my personal podium of musical achievements from Tikahiri.
At the end we get a remix of "I want you". It is rare that a new version is better than the original, but I have no doubt, that this is the case. While maintaining all charisma and the advantages of the first version, the remix is even more erotic, on the great behalf to the sensual female vocals and vocals cloaking whole with the atmosphere of secrecy, almost sacralizating voltage sensed in the dialogue of the two voices. Electronics perfectly harmonizes with the live instruments and the rhythm section has not been replaced by an insistent beat club, what does not kill the composition.
Tikahiri is not standing still, without complexes it is experimenting with a new sound. When dealing with "Kaito no Tetamanu" we have finally a chance to get to know the full technical capabilities of the group members. Perfectly produced, an excellent album - both for supporters of delicate and heavy rock sounds. 100%.
Tracklist:
01. E au te hoe matai
02. Save me my love
03. Kaito no Tetamanu
04. Girl
05. Lala (never satisfied)
06. I want you
07. Dying from inside
08. Parahata mau a
09. Toku mehameha
10. Tiaturi vau
11. With me or another
12. Dark eyes
13. I want you (remix) with Chaotik Ramses/Hanin Elias
Other articles:
Formation created by brothers Aroma and Mano Salmon and cellist Simon Pillard and drummer Stéphane Rossoni decided not to stay in one place and their another, published in 2011 album is far from the direction chosen for the predecessor. It seems that the brothers remembered their thrash roots - "Kaito no Tetamanu" is definitely heavier. And although there are less gothic influences here, it is still a very climax and inspiring music - the most appropriate term for the material contained on the disc is (a quite extensive) term dark rock / metal.
The first composition, "E au te hoe matai" is yet not announcing major changes. Maintained in the style of gothic rock known from a previous publication is based on play of the acoustic guitar and the clearly drawn rhythm section, in which emphasizes the role of the bass guitar. But the whole sounds more impressive and mature, the team operates perfectly, the voltage changes and differentiates the importance of individual instruments in a carried melody. I does not lack the cello, however its more important role is in the next track - "Save me my love", where its slipping over the play of the electric guitar. Here, by no doubt Gothic inspirations can be heard too. Laid-back composition is varied by a climax whisper during a momentary blanking sound, which for a while allows you escape from its hypnotic influence. Both - "E au te hoe matai" and "Save me my love" - are an expression of melancholy spirit, which also was not completely neglected in the rest of the material.
In "Kaito no Tetamanu" the group for the first time reveals their new face. Sounds clearly evocative to the howling wolves (the same ones faced by the entity that wants to be protected in "Save me my love"?) start a common run with a pack of strong, heavy riffs along the thick walls of distortion. Charismatic guitar solo, which can be difficult to find on the "Merahi kerekere", that appears at the beginning and at the end of the track, splendors the composition. But we will not hear cello and honest acoustic one - after all the pursuit should not be stopped, not to lose the trail.
Hungry for missed sounds its lack will be rewarded by "Girl" - entirely acoustic, distinguishing in the whole material – bright like reflected by the aforementioned in the text rivers’ waters sunlight reflections. Though sleepy and dreamy, you can not complain that not much is going on in it. Shifting between sounds of acoustic guitar like a warm breeze among the leaves of the trees, soothes and puts to sleep the memory of any problems, drowning the listener in an almost sentimental, straight confession of love and a willingness to surrender to the whole. Delicate, dreamy vocals, though devoid of any concerns blends perfectly together to a changes in a melody, agogics and rhythm. At first, different from other composition it can annoy - to appreciate it, I needed the time.
From this vision quickly pulls away stylistically Rammstein alike "Lala" - rock, fast composition with a clearly accented industrializing whole keybord, whose very presence was so far an unusual feature of the Tikahiri’ work. In a deceitful way conveying animal hunger of another body without bestowing it any deeper feeling reached a high place in the ratings. And there is nothing surprising in it - this is one of the most hit tracks of the band throughout its history.
In "I Want You" the group is mixing from the individual sounds a great mystery in honor of desire. Almost tangible eroticism trapped in string vibration of a cello – deep, lengthy and remaining in the mind long after died away - wakes every sensor, every nerve and causes dormant desire to tremor. Giving in to this trance, the listener is melting with music into one as during the loving act. Sensual voice and repeated like a mantra words only further imprison in a circle of flames, that do not lead to purification, but on the contrary - to sin.
"Dying from inside", in which listener is introduced by bass guitar sounds, is another stylistic innovation. Metallic character of the composition is confirmed by the fact, that the vocal expression is made here by the growl - as you can see, the group does not hesitate when it comes to experimenting in expanding their sound. Neat use of a wah-wah effect, disturbing keyboards and samples (eg police sirens) - it might seem crazy to introduce cello to everything else, but there is a method in this madness. Voltage increases, rage and aggression are spilling out of the speakers, and in listener grows a feeling of a satisfaction from communing with a perfect sound hybrid.
After a moment of respite during the "Parahata Mau a" windfall for the supporters of a stronger side of a band - "Toku mehameha" lies somewhere between "Kaito no Tetamanu" and "Dying from inside," but the impact of the industrial metal is much more apparent here. Keybord introduction to the guitar insanity driven by percussion and rhythmic throwing by dark voice of another repeating syllables, slowing beat, scrolling growl, three highlighted, ominous music keyboard notes, prolonged scream, and finally dark electronic background is definitely a recipe for schizophrenia in Polynesian.
Salmon Brothers and Company for me are the undisputed leaders in balancing on the border between mood and its unexpected changes. Aggressive "Toku mehameha" smoothly goes with cello sound in one of my favorite tracks on the album, and also the most melancholy song - "Tiaturi vau". In delicate, desperate tone (also present in the singing) takes a place a beautiful dialogue between two electric guitars and their string companion.
Two penultimate songs on the album are filled with gloomy atmosphere - a combination of Gothic atmosphere with guitar weight. In "With me or another" it is not possible due to low distortion, wah-wah effect, bass guitar, which is revealed in the verses and a dark vocals, in which the low timbre and intonation perfectly reflect the emotions communicated by words. In the vampire’ "Dark eyes" more meaningful are the bass and cello, which subsides at the end to mighty riffs, and varied vocals - from whisper passing into a low and furious to clean and quiet. Both compositions - diverse, moody and grim - take first places on my personal podium of musical achievements from Tikahiri.
At the end we get a remix of "I want you". It is rare that a new version is better than the original, but I have no doubt, that this is the case. While maintaining all charisma and the advantages of the first version, the remix is even more erotic, on the great behalf to the sensual female vocals and vocals cloaking whole with the atmosphere of secrecy, almost sacralizating voltage sensed in the dialogue of the two voices. Electronics perfectly harmonizes with the live instruments and the rhythm section has not been replaced by an insistent beat club, what does not kill the composition.
Tikahiri is not standing still, without complexes it is experimenting with a new sound. When dealing with "Kaito no Tetamanu" we have finally a chance to get to know the full technical capabilities of the group members. Perfectly produced, an excellent album - both for supporters of delicate and heavy rock sounds. 100%.
Tracklist:
01. E au te hoe matai
02. Save me my love
03. Kaito no Tetamanu
04. Girl
05. Lala (never satisfied)
06. I want you
07. Dying from inside
08. Parahata mau a
09. Toku mehameha
10. Tiaturi vau
11. With me or another
12. Dark eyes
13. I want you (remix) with Chaotik Ramses/Hanin Elias
Other articles:
- Tikahiri - Merahi Kerekere - 2013-01-01 (Music reviews)
