(Hungover in) Siberia is Pie Are Squared's third release and the first part of an ongoing trilogy; a venturesomely bold series of interrelated recordings. (Hungover in) Siberia plays as one long-form composition that is constructed with deliberate melodrama to pay homage to a plethora of human emotions, partly inspired by the seemingly infinite Siberian landscapes. Autobiographical in nature, the music expresses the protagonistâs loneliness and longing to rejuvenate his soul and assuage his mind, and his journey through his own personal looking-glass into a hallucinatory world.

(Hungover in) Siberia starts with a cinematic mantra of pulverizing, scorched sounds that drift into a more re-contextualized domain of hazy electronic distortion and austere screeches. Pure morning rises, eyelids descend, lost in landscapes devoid of reason, a non-stopping seizure that evokes a feeling of a man torn apart of his belief, estranged from his muse, getting emptier by the second, every cell disintegrates, shedding skin that swirls in a whirlpool around the body, wasting flesh annuls, only the soul remains, swept away by the merciless winds of inevitable change.

Nothingness reigns in this endless soundscape, and this ensues until an ethereal piano line, accompanied by comforting acoustic sounds and beautiful heartbreaking vocals enter to swiftly carry on with the story line. The protagonist can be seen grieving, in a state of blissful melancholy; cries of hurt can be heard radiating from his soul, sedative like an ever haunting lullaby, venting out leftover innate feelings that were once substantial for his survival yet somehow where lost through the dissonance of human psyche.

A pendulum of reason and the lack of it swing throughout seven layers of discombobulation, a convoluted dreamy track which eschews traditional structures. Where ever rotating remnants from the disintegration of sound are reconstructed into fragments of blissful specters. Waking up to a new morningâ¦or dreaming one, a phase is upon the protagonist where a bipolar state manifests itself in his mind, escapism through pseudo-happiness, fleeting moments of jazzy joy can be heard. Stripped down of feelings, I'll see you when I see you, and I hope this will be, won't be soon presents a hypnotic, elusive closure, evocative walls of sound, exceptional drumming, accompanied by spiky wafts of violins, harps and cellos. The marching band accompanies the soul in a parade to commemorate the muse, to a farewell of sorts, a vortex of emotion arises, inspires the imagery of a very serene funeral pyre march, into vast landscapes where the protagonist finally lays the muse to rest in the river of forgetting, lifting the veil of desolation off his soul, coming to terms with his turmoil. Hope arises.

Pie Are Squared masterful playing is revealed as an instinctual process where emotions are woven together like a meticulously intertwined tapestry, rendering an out-earthly ride through unfamiliar territories where sounds exist in their singularity. (Hungover in)Siberia is 30 minutes of otherworldly splashing, ripping, hissing, hum, an indefinite number of sounds carefully coaxed from unique instruments, drawing a blurry line between veracity and reverie. The result grabs at the listener to stay alert while getting lost completely to emerge cleansed at the end of this musical ride, tiptoeing around quiescent moments, increasingly mounting tension and inspiring awe.

Pie Are Squared is further proof that â wherever you are in the world â there is an underground scene brimming with talent. You just have to find it.

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