Establishing the mood with an astral frequency, The New Solarism opens The Kiss with a track called Shock. The opus evolves with cerebral dimensionality and a whistling violin arrangement that feels dramatic. The soundscape builds with immersive textured and brooding bass strings before launching into the second track, Being Lost.
Being Lost taps into a more raw sensibility with descending notes, where we can hear the poetic and delicate timbre of the instrument – unaffected, in its purest and most emotional nature. We appreciate the cinematic quotient that manifests, and the energy that transmutes, akin to the instrument crying.
Next up is Fear, which evokes a more experimental vibe with pizzicato and col legno moments, intertwined with tapping sounds, expanding with an immersive bass frequency, teasing the next song, Uncertainty. This holds an expansive nature, unburdened, tapping into the drama that has already been building within the overarching record. We appreciate the subtle build and the almost horror-adjacent vibe that transmutes.
Spring invites us into a brighter, and more sublime world. It is meditative, and peaceful, at the same time as showcasing the more glistening and optimistic side of the strings arrangement. The Search is a delicate piece of artistry, once again adding dynamism and dimensionality to the already intricate album. The detail showcases the genius compositional nature of what The New Solarism can manifest.
This leads us to Grief, which brings to the moment a more sombre sentiment, in line with the title of the track. The bass strings are moody and melancholic, and we are invited to go inward and reflect before Rage which feels like a natural follow up – it is short and showcases some scordatura.
Peace is the most meditative track on the record, diving in sentiment and transcendental in nature. We are able to process what came before and reminded that this energy is the frequency that we deserve to be in. High notes tap into a feeling that embodies the notion of a spiritual ascension.
Finally, The End teases us with pizzicato strings and the most melodic and classically inclined performance that we have experienced thus far – there are nods to waltz and baroque and we appreciate the timeless sentiment.
The New Solarism, also known as artist Izabela Kałduńska, cites Nils Frahm, Hania Rani, Dobrawa Czocher, Arvo Pärt, Jacaszek, Aidan Baker, Deru, and Clint Mansell as influences, which we can feel come to life on the album, however there is no doubt that the project is manifesting a sonic universe of its own.
Speaking on its significance, Izabela confesses, “I think the release is very special because it reveals many aspects of the sound that a single violin can make. It just gained so much meaning for me during last years – it became a wish for the world to stop conflicts and also a question how can we ever feel peace again after all what happened?”
The talented composer from Leipzig adds, “It was a journey through all possible feelings and to find a way of expressing each feeling with music demanded from me great amount of energy and insight to my deepest self.”
Naturally, we are in awe of what The New Solarism is creating, and have added The End to our New Music Spotlight playlist, as well as our TRIPPY and TIMELESS playlists, whilst we continue to explore the wider discography of The New Solarism, including the 2023 EP, Hibernaculum.