Abysmos is a cinematic album, opening to some kind of action scene. A large presence arrives in a cacophonous disharmony of imponent, ethereal sounds. It’s all black and white. For a moment you might get a sense of noir, but then the monolith shows up, and you’re in the middle of space. Pylar has a maximalist sound steeped in a dark feeling, which, at brief moments, brings to mind atmospheric black metal, in particular in some of the voice work.
The sounds seem to evolve with an epic luminosity, which drives the first track, La caída, until the arrival of the cavalry in the form of intense drumming, over which the voice continues to encounter patterns and melodies, as the whole thing nonstop mutates. The second half of the track reaches a valley for a moment only to pick the intensity back up again. Towards the end, the intensity of some of the many frequencies quietens down, leaving room for interesting rhythmic explorations on the drums, which at this point bring welcome relief to our fragile listener’s mind.
The cover art displays a surreal hellscape meant to defy our perception. In the photos, the members of the band present themselves in disguise as creatures, which is quite fitting for their sound. There are so many elements going on it does often hint at non-human intelligence.
In their own words, Pylar is a magical act which seeks a return to circular conceptions of time in constructing our reality. Pylar is a collective of ‘hyerophants, shamans, and druids’ fusing ‘song, dance, and invocations’ to execute song-temples of musical architecture. Sonic symbols constructed in a forgotten language.
the combined madness of the minds from the multiple members of this collective to achieve the fluidity, naturality, and disorder…
The second track, Fervor Espiral, brings back the cacophony with more of a free jazz feel. I think the most prominent sounds here are the assorted wind, string, and other instruments outside of the traditional guitar, bass, and drums which are applied to generate overwhelming and disorienting atmospheres, and often overpower any other sound with their monolithic power, meant to transport us through each musical rite.
From early on, the voice takes a lead role providing us mystic guidance through this ritual. Also, the guitars take on a more traditional role as the spirits continue to rise in the frequencies that flutter all around. At times, the music seems to get caught on these sounds when they reach a particular pause or peak, but around this ethereal composition you can hear more traditional rock or metal elements, only drowned in psychedelia. I assume recording this music involved the combined madness of the minds from the multiple members of this collective to achieve the fluidity, naturality, and disorder that are palpable here.
In the third track, Crepitación solar, finally the guitar can sing with all the distortion unhindered by the time it gets to its third act, although it continues to mutate with rhythm changes and creative drum action. The last track, Pasado profundo, has a more ambient sound, and yet it’s the most evocative of an invocation ritual, due to the complete absence of structure and the predominance of chants as the element meant to hold our attention.
Pylar’s Abysmos is a fast-track pass to far reaches of the non-rational mind, via the limits of our sensorial and perceptual capabilities. Let your mind rest beyond this reality, while aiding in the construction of a new future past through the practice of these musical meditations.
Scribed by: Goro Riffs