In these days post-rock groups has been springing up like mushrooms, therefore it is not easy anymore to be the one that stands out. They, however, managed to do it. This alternative of Lublin, enriched with spacious improvisations, it worth paying particular attention to.

A minute and a half. That’s more or less the amount of time in a month a music group has to attract my attention. In contrast to a vast number of potentially great bands stuck at the end of playlists for long weeks, Tatvamasi attracts and intrigues from the very first seconds. Post-rock is a kind of music that has recently been very much in demand despite often being standardized. The musicians from Lublin however are very non-obvious and surprising. They draw on jazz, but still are quite far away from Polish yass scene. At the beginning, to be honest, I thought they were foreign.

Their greatest success lies in originality. Tatvamasi creates music with no complexes, with no fear of experimenting on even the weirdest improvisations. Thanks to their courage and consistency the musicians do not have to resort to the form of a song, therefore their compositions are not limited by structure or time. Starting from „Unsettled Cyclists Peloton” their music acquires a form of emotionally driven discussion of the instruments. Sometimes they quarrel like a bunch kids, in those moments trembling guitar riffs and impudent drums stand out, but when the tenor sax dominates them the conversation starts to be up to the mark.

The departure from light, rock sound occurs rather quickly. The second composition “Collapse of Time” is based on psychedelia and classical progressive rock elements; it also gives rise to fantastic guitar solos. In “Shape Suggestion” the musician take one step further and apart from progressive rock virtuosity they reach for some jazz elements. As it turns out, and what has stricken me most, Tatvamasi are good at transmitting emotions. In this scorching vehicle of energetic tracks in quite an unexpected but delicious way appear highly reflective moments (such as for instance inconspicuous ending of “Rhubanabarb” or “An Eccentric Introvert in a Study Filled with Broken Mirrors” from its 8th min). Starting from the last track the music sounds a little like Pink Freud, but it may be my personal impression (on the contrary, those who don’t believe me – try comparing the beginning of “Astroepos” and “Konichiwa”). Nevertheless, “An Eccentric …” is by far one of the best compositions on the entire album, filled with wide spaces charged with free manoeuvres. The harmony of very personal, yet extremely distinct, approaches the musicians represent, seems to be the best way to define this music.

After all, I couldn’t resign of being a little picky. In case of the first three tracks the musicians seem to be a little discordant or, paradoxically, a little tired of themselves. Despite the creative discussion, the instruments have the tendency to shout over and to dominate the dialogue by force. Nevertheless, it’s all merged with such a winsome energy that sometimes it is no longer a drawback, but a feature that characterizes the band. After listening to “Astroepos” it is hard to be angry or cross with Tatvamasi. This particular composition, simply beautiful, spacious, gently moderate, is a-dream-come-true of my hopes towards the band. The only thing that is dubious is the lack of coherency between the composition’s two parts – to fully use its potential it would be enough just to cut it in two separate pieces. I also long for a moment of well-defined turning point and more space to freely unwind the imagination. Instead of this, the musicians, in a frantic hurry, rush forward. They reach the best sound, however, when they give themselves more space. This, if made use of, could lead to neatly drawn alterations in tension and more artistic intrigue. When the boys finally get warmed up and tired enough of the unfading excitement of “Parts of The Entirety” I will expect nothing less of their further recordings.

At the beginning I wrote that it can be described as a post-rock, surprisingly, however, Tatvamasi keeps on stealing my time-for-jazz-only hours. It would be a mistake to categorize them, especially considering the fact that the musicians successfully escape from getting shut in particular boxes. Regardless to the type of music, which seems meaningless in this case, a hint of youthful imperfection, a beginning of something very exciting lurks from “Parts of The Entirety”. Every playing of the album opens new door. It becomes more and more interesting and clearer than at the first sight. I think that Tatvamasi commences to create its own musical genre and I am looking forward with great pleasure to their further steps.

Alicja Cieloch