‘Hider’ entices the listener along a path leading towards an enchanted forest; the opening vocals and guitar the deep green vines that intertwine all across the way. The trees can be seen, but are behind a translucent veil that hangs like white candy floss and sparks here and there with specks of gold. When the veil is reached and passed through the trees are seen clearly, become the greater trunk of sound that the ever winding vines now turn their coiling attention to.

Something unsettling, though, hangs in the air: paradise is not so perfect after all; though this miscalculation is this listener’s error alone, for the lyrics tell a lacrimosal tale of withdrawing from society, and so it is that and the need to be far from it that creates the unease not just sung of but felt in the music too.

‘Follow For More’ opens in an off-kilter way that reminds of Avant-garde metallers Kayo Dot before taking that lilt into a sound far more reminiscent of The Crest, a fav band of mine from the gothic/dark wave genre. It comes as a surprise then to read the band’s two named influences as Deftones and Baroness (and in general metal, post hard-core and shoe-gaze); pay attention, though, and they’re certainly there, their presence a big part of what makes Igarka such a fascinating and rewarding listen.

Along with the above mentioned there’s a number of bands I’d cite as sounds likes for Igarka: Sins of thy Beloved; Theatre of Tragedy; Darkwell; Leaves’ Eyes; Silvery. But listening to track ‘Sabotage’ it wouldn’t surprise me if none of those bands were known to Igarka’s members, such is the direction the combination of its parts can take a song when the vocals are driving; here reaching points that would be at home in a folk song and elsewhere having sequences with an almost mainstream pop to them.

‘Self Similar’ continues the compelling almost hypnotic journey into self vs. society, here venturing into relationship territory via the somewhat abstract and highly poetic lyrics; at times the vocals almost clashing with the music in representation of the inner turmoil sung of that is then punctuated with a towering solo.

‘Expiration Mark’ perhaps best defines the influences given by the band, the Deftones and Baroness references easy to hear before the song drops into a most elegant almost ethereal exercise in shoe-gaze. It conjures an image of coffee and a cigarette on a Paris sidewalk. But it doesn’t last for long as the track is soon off in its new direction of elegance, something orchestral in the depth of composition and layers therefore created.

‘Sanmarinese Brainrot Animals’ emphasizes the unique nature of Igarka and also how much Dopamine Ocean is about not not liking people, but why people don’t deserve to be liked.

‘End Well’ is another dark dive into the world of love that in parts would be quite at home as a Duran Duran, Depeche Mode or Gary Numan number; and that’s with the flavour of Deftones and Baroness coming through strongly too. Throughout the song composition and the way each develops is breathtaking. Here it transcends into something thoroughly epic; something that rises and flies higher with each note; that has the dramatic dynamism synonymous with James Bond scores.

According to the accompanying notes Igarka has only been together one year, making debut Dopamine Ocean even more-so incredible. In two words: utterly stunning!

Igarka anticipate announcing a release date via social media on 1st Sept 2025.

Igarka:

• Aisja Baglioni – lead vocals
• Luca Pasini – guitar, backing vocals, keyboards, mixing
• Simone Succi – guitar, mastering
• Elisabetta Paglierani – bass, artwork
• Giorgio Puzzarini – drums

Dopamine Ocean:

• Music written and performed by Igarka
• Lyrics by Aisja Baglioni, Luca Pasini and Elisabetta Paglierani
• Drums were recorded at Woodoo Sound Labs in Longiano (Italy), with some precious help from Guido Balestri.

Links:

• Igarka Linktree

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