On their debut LP, Transmalinnia (Knitting Factory), Lumerians follow their self-titled EP and last yearâ€™s â€śBurning Mirrorsâ€ť single with a comprehensive effort to create another enlightened, spiritual world.
Divided into sides that serve as highly organized passageways to the their enlightened world, the album conveys a singular focus throughout. Â The first side consists of several relatively short â€śpopâ€ť statements, including â€śBurning Mirrors.â€ť Â Within the context of the album, â€śBurning Mirrorsâ€ť transforms from a succinct sonic statement into a hard-hitting opening shot, setting the pace for the side as a whole. Â Full of overdriven keys, wayward synth parts, dancing bass, robust percussion, and monolithic fuzz guitar, Lumerians provide their own psychedelic constellations. Â Largely driven by keys, the remaining diverse instrumentation coloring the fields beneath the standout organics and synthesizers. Â Vocal passages alternate between dreamlike solo passages and glorious, celebratory harmonies.
Between structured songs, Lumerians foreshadow the second side with a few drone outbursts, destroying the space between each song as an individual entity and threading that comprehensive vision throughout the side. Â The whole album features an unsettling and beautiful dissonance as these disparate pop and experimental elements cross. Â Compared with earlier Lumerians sounds, this dissonance is enhanced by darker timbre and a more aggressive production vibe. Â Unlike some entries into the repetitive, experimental psychedelic catalog, Lumerians emphasize fidelity on this offering, clearly placing the focus on instrumentation in a clear atmosphere, and utilizing that focus to drive the aesthetic of the release.
Once the â€śpopâ€ť side is complete, Lumerians embark on a journey of mostly instrumental passages, filled with repetitive instrumentation shattered by shrieks, noise, and other interludes that convey the development of dream states throughout the course of sleep. Â Each progression on the second side feels intended to invoke particular emotional responses, to develop a course in which the listener can reflect on what they previously heard and respond to it emotionally. Â This side is an ethereal release of the tension and dissonance built on the first side, and perfectly complements the structured aspects of that first handful of songs.