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AESTHESYS

Post Rock/Math rock • Russia


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Aesthesys picture
Aesthesys biography
Original a one-man band from Moscow, Russia consisting of guitarist and violinst Nik KONIWZSKI, the band AESTHESYS quickly grew into a quartet in 2011 and then a sextet by 2013. Deriving their name from the abbreviation AESTHE (A Simple Theory For Everything), the band plays cinematic post-rock laced with ambient influences. The full sextet who plays shows currently consists of Arsentiy KARPOV on drums, Dmitry SOLOPOV on bass, Eldar FERZALIEV on guitar, Victor MARCHENKO on keys, Nik KONIWZSKI on guitars and violins, and Ivan LUBIANY the sound engineer.

Bio written by Tanner(The Truth)

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AESTHESYS discography


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AESTHESYS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 5 ratings
Camera Obscura
2011
4.00 | 13 ratings
Achromata
2018
3.34 | 4 ratings
Alignments
2020

AESTHESYS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

AESTHESYS Videos (DVD, Blu-ray, VHS etc)

AESTHESYS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

AESTHESYS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 1 ratings
Demo
2008
4.00 | 2 ratings
An Exceptionally Simple Theory of Everything
2008
4.00 | 3 ratings
Cold Light of Skies That Never Existed
2009
4.00 | 1 ratings
Lacus Hiemalus
2010
4.00 | 1 ratings
Crossing the Shoreline
2010
3.09 | 3 ratings
Ascendere
2013
4.00 | 1 ratings
Studio Sessions
2015
4.00 | 1 ratings
Marea
2017
0.00 | 0 ratings
Exodus
2020

AESTHESYS Reviews


Showing last 10 reviews only
 Alignments by AESTHESYS album cover Studio Album, 2020
3.34 | 4 ratings

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Alignments
Aesthesys Post Rock/Math rock

Review by nick_h_nz
Collaborator Prog Metal Team

4 stars [Originally published at The Progressive Aspect]

Two years ago I was introduced to Russian band Aesthesys, via their album from that year, Achromata. The most exciting aspect of their music was the use of soaring violin parts over their post rock music. By no means the first post rock band to use this instrument, but easily the best of those I've heard (something that almost pains me to admit, as they edge out the marvellous band from my homeland, Shepherds of Cassini). This year's Alignments leaves us in no doubt that we are in for more of the same, with the violin making its presence known immediately ? and darn, Aesthesys founder, Nik Koniwzski, plays a mean violin!

The next thing that drew my attention on Alignments was the drumming of Artem Taganov. Now there was nothing wrong with the drums on Achromata, but the drumming here is on a whole other level. Even better, this seems to have upped the game of Sasha Coudray on bass, who shone anyway on Achromata, but is playing like a beast on Alignments. The rhythm section provides an almost constant gut punch, providing a wall of sound of their own, before I even take into consideration the strings and keys of Victor Krabovich (guitar, keyboards) and Nik Koniwzski (violin, keyboards).

What Aesthesys have done incredibly well, is to conjure up mental imagery of a techno-dystopian future with their music. Although there are no real similarities in sound, I'm often reminded of Muse's Simulation Theory, and Long Distance Calling's recent How Do We Want To Live?. All three albums mine the same sci-fi territory of replication, simulation and artificial intelligence, and come up with a retro-futuristic sound that conveys the part (or lack thereof) that humans might play in their own future. The band's Bandcamp page proclaims Aesthesys to be "robots' and neural net-works' most favourite progressive rock band, soon to be the official soundtrack of the AI uprising", and although it's written tongue-in-cheek, it's not hard to believe that if there were to be such an official soundtrack, Aesthesys would definitely fit the bill.

The music of Aesthesys in itself is uprising ? it's energetic, driving, and powerful. There may be more gentle and atmospheric passages, but for the most part this album is a beautiful and commanding rush. And, as you'd expect for a band whose target audience is apparently robots and neural networks, electronic. The use of electronica is not new to Aesthesys, but it's more prominent in Alignments than any previous album. Given the subject matter, this makes sense anyway, but it really does work well. Even when a composition is almost entirely electronic sounding, it is never overwhelming, and always so perfectly integrated into the sound. There are so many layers and textures of sounds in the music. It's all terribly complex and intertwined, and yet so simple and easy to listen to.

The one real surprise for me was Better Stranger, which may well be my favourite track on the album. It's almost like an '80s throwback with a contemporary and spacey finish. It might evoke the '80s for me, but it certainly doesn't sound dated. The rhythm section absolutely excel on this track, as they pound away under some quite gorgeous keys. And although it hits like a bomb, and stands out on the album, it really is simply a composition that more overtly shows the fusion of post rock and synthwave that Aesthesys have used on this album. And yet, it also sounded strangely familiar. I was thinking it reminded me of '80s King Crimson, or maybe Talking Heads. And then it clicked. It was Changes by Yes. Go ahead, listen to that song, and then Better Stranger. But don't listen too long to Yes, because Better Stranger is by far the more interesting and enjoyable. (And, dare I say it, more talented.)

Alignments gives us soaring strings, cinematic soundscapes, and the technological punchiness of electronic samples and synths. It's an ambitious and scintillating album that succeeds on every level. As good as the critically acclaimed Achromata was, Alignments is even better. This release deserves to be hailed as one of the greatest post rock releases of 2020, and I'm sure by the end of this year, it will be.

 Alignments by AESTHESYS album cover Studio Album, 2020
3.34 | 4 ratings

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Alignments
Aesthesys Post Rock/Math rock

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars Russian band Aesythesys is back with another collection of their unique form of atmospheric Post Rock--an album that I was very excited to hear due to my love of their 2018 release, Achromata.

Favorite songs: the race-against-time MIKE OLDFIELD-meets-TEARS FOR FEARS-like "Amen D"; the 1980s DEPECHE MODE-meets 90125 YES-like "Better Stranger"; the Berlin School/Kraftwerk-like "Hello World"

Though was really enrapt and intrigued by the novel approach to Post Rock that this band exposed me to on their 2018 album Achromata, I have found this album to be either rushed or showing the signs of burnout. There are a lot of themes here that seem to deal with futuristic, film-inspired themes and ideas, but the ideas here are too often either ill-timed or left undeveloped and incomplete.

I find Alignments to be a huge disappointment as I felt Achromata showed signs of innovation and energy that one rarely finds in instrumental, keyboard dominated Post Rock.

A three to 3.5 star album.

 Achromata by AESTHESYS album cover Studio Album, 2018
4.00 | 13 ratings

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Achromata
Aesthesys Post Rock/Math rock

Review by wiz_d_kidd

4 stars This album is a tour de force of symphonic violin melodies atop a post-rock foundation. Calm, melodic intros of violin yield to big, brooding, triumphant post-rock guitar finishes. It has the grandeur of a heroic, cinematic epic. I could imagine making a movie just so I could use this album as the sound track. My only issue with the album is that after several tracks, they all begin to sound alike, at least, to my ears. I would have enjoyed more variation in composition. I was thoroughly engaged at the beginning, but bored by the end. Nevertheless, a very good post-rock album that would be an excellent addition to any prog rock music collection. Four stars.
 Achromata by AESTHESYS album cover Studio Album, 2018
4.00 | 13 ratings

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Achromata
Aesthesys Post Rock/Math rock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars High quality classically-influenced jazzy Post Rock from Russia!

1. "Grauer Wald" (5:17) great insistent keys and rhythm section behind lead violin. Burst at 2:35 into full force but then takes a long time to do anything more dramatic. (I kept waiting for the violin or somebody to really take off, but it never happened.) (9/10)

2. "Filis Aureis" (4:26) my least favorite song on the album, just too dull and repetitive. (8/10)

3. "Marea" (5:16) opens like a very familiar Post Rock song from either GOD IS AN ASTRONAUT or MONO. Building, the drumming gets a little annoying, before a break at 2:30 allows a neat little "hammered dulcimer" section to unfold. Slowly drums, piano, guitar, and violin join in and build to a MONO-like crescendo at the end. (9.5/10)

4. "Himmelbarn" (7:10) again opening with riffs familiar from other Post Rock songs (EXPLOSIONS IN THE SKY come to mind), the song soon shifts gears into a more jazz-classically challenging section before everything quiets down at 2:07 into a peaceful mellow reset and start over. The soundscape begins to expand in the fourth minute as violin joins the guitars, drums and bass. Then, at 4:07, another shift into that higher octane rapido section recurs with heavy guitars power-strumming away while the violin tries to stay afloat above the turbulence. (9/10)

5. "Melanocardia" (6:33) too repetitive, getting stuck in one gear for about two minutes in the middle with absolutely nothing new happening but fast driving chord striking, and then the follow up is rather anticlimactic. (7.5/10)

6. "Sapatha" (5:39) drums and keys are the key to the success of this one. (9.5/10)

7. "Apogeion" (6:22) agains drums, piano, and bass make this such a solid foundation upon which to build and soar. (9.5/10)

8. "Eosfyllon" (5:44) starts slow and quiet before ramping up into a wonderfully melodic and varied song. (9/10)

4.5 stars; a near-masterpiece of progressive rock music.

 Ascendere by AESTHESYS album cover Singles/EPs/Fan Club/Promo, 2013
3.09 | 3 ratings

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Ascendere
Aesthesys Post Rock/Math rock

Review by Finnforest
Special Collaborator Honorary Collaborator

3 stars Beautiful post-rock from Moscow

Aesthesys is a post-rock group from Moscow started in 2007 as a one-man project, evolving into a full band later. This EP entitled "Ascendere" is an accomplished one indeed

They infuse their sound with ambient and classical touches, citing influences from Floyd and Sigur Ros to Tool and Kayo Dot. The sound is sweeping and sophisticated with a slightly different feel than the emotional ebb and flow I usually associate with more traditional post-rock. These songs seem to be going more for atmosphere and dreaminess than angst or sorrow. It's just beautiful. The keyboards and violin are employed throughout, usually quite calming and subtle in approach, rarely if ever harsh. You get a chance to hear violin and guitar actually conversing on parts, playing off of each other, doubling each other sometimes. Other tracks bring drums to the fore and rock a bit or get a bit funky with electronic beats. But the overwhelming vibe of the release is of a lovely and dreamy voyage on the high seas. This taste of Aesthesys is short but sweet and well worth your time. Even the recording quality and mix, so often shaky in these days of indie releases, is quite professional.

While they have had more personnel changes of late this band has released many EPs and based on this recording, it really seems time that they go for a full length release. I believe they could make something really great.

Thanks to angelmk for the artist addition.

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