Review: Pylar ‘Límyte’

Described as ‘among the best kept secrets of the Spanish underground’, Pylar have been in existence since 2012 and providing Encyclopedia Metallum have their facts straight, comprise of Lengua De Carpa (vocals), Lingua Alaudae (vocals/mandolin), Bar-Gal (guitars/keyboards), Trarames (French horn) and Gamaheo (drums).

Pylar 'Límyte' Artwork
Pylar ‘Límyte’ Artwork

The band certainly can’t be accused of creative inertia seeing as Límyte marks their seventh full-length album since their formation and the third and final chapter of a trilogy that includes Horror Cósmyco (2019) and Abysmos (2021). In addition to the intriguing cover art, which actually gives you very few clues as to what to expect sonically, we also have the praise of a certain Julian Cope who described their debut 2013 Poderoso Se Alza En My album as ‘a must, superb’.

The album, which comprises three tracks, commences with the trippy Límyte (Limit), a sprawling near sixteen-minute psych jam that takes into its orbit the likes of kraut rock collective Amon Düül, contemporary outfits such as Samsara Blues Experiment, Moura and The Master Musicians of Bukkake as well as shades of prog. Considering the spate of seemingly never-ending sunny weather we have been having here in the UK as of late, this feels like an ideal soundtrack to accompany long isolated walks in the countryside with nothing but rolling fields and mother nature for company.

Like Goat, their dress (masks and ceremonial clothing) signifies a desire for anonymity as well as a sound perfectly suited for turning on, tuning in and dropping out, to paraphrase countercultural figure Timothy Leary. The sense of mysticism conjured here helps one ascend to a higher level of consciousness and if I believed such things, then I’d probably be in my element. As it is, the music will have to suffice for now and seeing as it’s intriguingly dazzling, is perfectly fine by me.

a sound perfectly suited for turning on, tuning in and dropping out…

Aniquilación (Annihilation) at a mere one minute thirty is a brief interlude between the album’s two dominating monster length tracks. A wash of chants and electronics, it hints at the upcoming darkness to proceedings (as implied by that grim title), that hitherto had not been evident what with all the laid back ‘60s free love vibes on display, signifying as it does the imminent death of hippy idealism.

Ruptura-afuera (Break-Out) at well over eighteen minutes is the longest track on the record and takes a musically different route. A much heavier sound, it initially embraces claustrophobic black metal but of the more experimental avant-garde sort favoured by bands such as postcards from new zealand, Finland’s Oranssi Pazuzu and French outfit Blut Aus Nord. The track also incorporates drone doom elements ala Melvins at their most challenging and weird as well as the uncompromising post-rock of latter day Swans. As the track draws to an end, aspects of it also remind me of the likes of Wardruna what with the dark folk/nordic folk intonations and evocatively pagan styled imagery. A furious, tense yet resplendent conclusion to the album.

Límyte can be described as an album of contrasts, specifically light and shade, taking you through the gamut of emotions and feelings, from all-out bliss and comfort to dread and finally abject terror and despair. It’s a credit to the band that they have managed to achieve all this in a relatively short running time (thirty-five minutes approx). The album definitely requires a couple of listens to process and so those with a short attention span and a love for immediacy may find it a challenge. However, persevere and you will find ample reward in its multifaceted beauty.

Label: Cyclic Law | Cavsas
Band Links: Facebook | Bandcamp | Twitter | Instagram

Scribed by: Reza Mills