Suuns
Hold/Still

Since their debut, what I immediately perceived in the Suuns is a certain ability to weave particular dissonant intertwines until they reach euphony; indeed, if a note is crooked enough, it just needs to blend in, because it will always sound good in its own dimension; and it is here that the solos often manage to eliminate the oxymoron, because despite everything, the entry ticket seems easy: electronic rock with a pleasant dose of modern, thought-out, and perhaps slightly groomed psychedelia.

Looking back a bit, precisely in 2020, the music clearly demonstrates how these young artists have established themselves among the amalgams of rock and electronics; with Hold/Still, branded 2016, they show a more oppressive and even more kraut aesthetic than in previous releases, which evolves their music like a path that widens while remaining straight; in these museums of minimal sounds, even the melodies with pop hints end up deforming into harsh, claustrophobic sequences.

Paralizer

The simultaneous simplicity and multitude of details seem to streamline even more their already polished style: sparse motifs that along the way are perturbed, seem to multiply forming a maze of transparent walls.

Translate

Written somewhat like a text full of punctuation marks, the entire album seems to perpetually circle around the discourse, without giving a sense of climax, yet citing references well, see certain Pink Floyd torn by noise praying on the electric chair:

Brainwash

In the end, it is a natural interest that I have developed for these tracks, perhaps struck by the easy quirkiness that sometimes sounds synonymous with originality to me, and sometimes not, but at their concerts, I only felt good vibrations, so bien.

LP