in solarium
Lush and Dreamy/dreaming stereo fulfilling pop straight out of Estonia, Pia Fraus shimmers darkly like Stereolab underwater, like The Wedding Present but so much smoother. The organs make my veins giddy, and the male/female vocals send shivers right along the edge of my spine. It's Cocteau Twins bubbles of sound with a rock 'n' roll undertone; This music makes me dance at the same time as it makes even my shoes gaze. Think summer dreams in the rain, cool blue sky waiting for the clouds which never came, the melodics of the vocals and guitars and bass all layering on top of each other, building up and around - a thousand crescendos at once, and still the hooks get stuck in your head.

reviewed by: Marcel Feldmar for The Big Takeover

On first spin, you easily may mistake In Solarium for an unearthed collection of B-sides by Kevin Shields. The similarities between Pia Fraus and Shields' ground-breaking My Bloody Valentine are numerous, and as such, listeners will most likely have one of two reactions to this album of shoegazer perfection: they'll either declare it a rip-off or they'll jump for joy. Personally, I'm feeling a strong sense of the latter.

Hailing from Estonia (a land not widely acknowledged as an indie music mecca), Pia Fraus certainly offers a hint or two about their European origins (most notably in the mildly accented vocals), but by and large In Solarium is borderless fare, presented in global-friendly English and largely devoid of cultural lessons.

Bathed in dreamy haze, the songs on In Solarium serve as a transporter to a peaceful, albeit nearly mind-numbing state. Kristel Loide's vocals are at once deep, breathy and ethereal, providing the perfect match for Pia Fraus' take on dreamy noise-pop. On almost every track, Loide's vocals are combined with equally stunning harmonies and layered between atmospheric keyboard tinkerings and reverb-heavy guitars. The opening track, "400 & 57" (which at moments reminds me of The Dream Academy's "Life in a Northern Town"), provides a perfect example of what to expect from the rest of the album. A steady guitar refrain serves as the base element, while layer upon layer of voices and other instrumentation are blended seamlessly together, creating a delicate and classic shoegazer-styled arrangement.

While In Solarium may not provide a unique approach to the sound My Bloody Valentine brought to the music-loving world's attention, or even offer much of an updated take on the genre, the album succeeds because Pia Fraus' music is enrapturing and unmistakably beautiful. While many bands have tried (often in vain) to recapture Shields' trademark aesthetic, Pia Fraus has done nothing short of mastering it, while never once sounding as if it were a forced study in shoegaze. They've done this so well, in fact, that you would think that they were one of the innovators of the style rather than relative newcomers. If you're a hardcore Loveless junkie, or invariably gravitate to Slowdive or Mojave 3 CDs, Pia Fraus' first stateside release should be added to your rotation ASAP. From start to finish, it's an engaging, more than satisfying listen. Look for the white noise of "No Need For Sanity" and "Octobergirl" in particular to turn In Solarium into your latest favorite album.

reviewed by: Amy Leach for Splendid

One of the centuries-old struggles in art has been maintaining the proper balance between inspiration and duplication. There have always been shades of Bergman in Woody Allen, for example, but no one would ever confuse Persona with Annie Hall. In the case of the Estonian outfit Pia Fraus, it's nakedly--almost embarrassingly--obvious that the group owes a great debt to My Bloody Valentine. It's not a vague, glancing reference point, either. If an enterprising college DJ were to attempt to pass off any given song from In Solarium as the eternally delayed new Valentine single, they'd likely meet with little challenge. But paradoxically, this is not a condemnation--because In Solarium is marvelous. It's woozy as a hangover, the dual vocals of Kristel Loide and Rein Fuks pouring like syrup over charging guitars and whistling keyboards. It's loose and jubilant as springtime, violently happy and crammed with the sound of 100 guitars on overdrive. And for every urge to condemn there is another, stronger urge to keep playing the record over and over again. Pia Fraus may be little more than cultural shoplifters, but their brazenness is ultimately their most winning characteristic. B+

reviewed by: J. Edward Keyes for Philadelphia Weekly

There seems to be a rash of bands around who consider Rio a serious touchstone. My guess is that Duran Duran doesn't even really take that album all that seriously, so why should anyone else? The point? Those bands now stink for one more reason because Pia Fraus has taken and updated some of the best remains of new-wave and underground and made a fine album that will leave retro-losers choking on their dust.

Jut when I thought I'd kill the next "pop" band I came across, this album has come along like an icy ray of European sunshine. An even more guilt-free version of the Cardigans by way of Stereolab, Pia Fraus strikes a balance between lush, electronic atmospheres and music that still exudes a human element. Playful and serious all at once, they're fun without being ridiculous, pop without pandering, and light without being grade school.

All the usual elements are at work: droning organs and synths, slightly buried, mood-setting boy/girl vocals, and heavily effected guitars, My Bloody Valentine/ Smashing Pumpkins-style, swirling through the mix. Why is it, then, that for all of the hundreds upon hundreds of bands that get it wrong or get it just so-so, this one manages to get it just right? If I had to guess, I'd say the answer is found somewhere in the pure joy that seems to have gone into making this album. It's tough to criticize something that is both sincere and well-done.

What's here for lyrics are simple, plain pleas for love. It's standard stuff but without a hint of ironic detachment. It's heartfelt without being childish or naive, probably the hardest lyrical trick to pull off. At their best they recall some of Yo La Tengo's great pop songs with Georgia singing.

Pia Fraus' contribution to canon of great songs is the delirious "400 & 57." At least one reviewer has already pointed out that it sounds a bit like "Life in a Northern Town," but that really just adds to its appeal. God bless this little song; hipsters in the know will still be grooving to this in 20 years. It's one of the best singles I've heard this decade.

The sounds and production are engaging enough to ensure that the album will never sound dated. Not to be too gushing, because there are faults to be had. There is little variety in sound from song to song, which some people may find repetitive, and I would imagine some may find it a bit light, but really I think they get it almost perfect. A thoroughly well done piece from beginning to end.

reviewed by: Jon Langmead for Delusions of Adequacy

A few months back, Magnet magazine ran a cover story on the shoegazer movement, highlighting the ups and downs - and recent re-interest - of the once glorious scene that for all intents and purposes lasted from the mid eighties to the early nineties. While certainly during the last ten years many bands have had shades of My Bloody Valentine buried beneath their surface (and the list is endless), it is only recently that bands are championing those influences and allowing them to bubble more towards the surface. The ingredients are few, but effective: stark, soft, poppy vocal melodies, driving bass and drums, tonebender guitar, and FUZZ. Piles and piles of FUZZ; on the guitar, on the bass; FUZZ. Pia Fraus come from - of all places - Tallinn, Estonia. And here’s a fact: they’ve studied the movement well. In Solarium is essentially their first “proper” release (their first was a self-released CDR.). Ten reliable songs, all with an abundance of the aforementioned ingredients: soft, boy/girl vocals, fuzzy dreamscapes, and driving rhythms. Unquestionably, In Solarium will be a welcome addition to any shoegazer’s collection. Unfortunately, due to a lack of any irrefutable standouts this album lacks the visceral impact to turn anyone new onto the genre.

reviewed by: James Reader for Action Attack Helicopter

From Estonia comes this young act with it's second full-lengther. Comparisons to STEREOLAB, and especially MY BLOODY VALENTINE are more than apt, especially as a good part of this release could easily be mistaken for lost MBV outtakes. The sweet girl/guy dual vocals and waves of guitar textures harken back to the days of 'Isn't Anything' or 'Loveless', and successfully fill the void in the 'shoegazer' scene left all those years ago when Kevin Shields left the building. A solid release, with superb production and strong songwriting, although there is still work to be done if the group expects to be recognized as anything more than imitators.

reviewed by: Godsend Online

Deeply indebted to numerous late-80’s indie outfits, Pia Fraus are an unashamedly sepia-tinged delight. Hailing from Estonia and all under the age of twenty, this six-piece specialise in three-minute rapid blasts of alternative-pop filled with a genuine innocence that is tough to find outside of untapped musical territories such as these. Rattling, jangling guitars, fading vocals, incessantly dreamy melodies and lovelorn lyrics seemingly written without specific motive, Pia Fraus are resolutely retro but completely charming too.

Strongly reminiscent of ‘Bizarro’-era Wedding Present, the band also take large slices of inspiration from Slowdive, Lush and Superchunk as well as displaying a clear influence from Stereolab on the LP’s finer euro-pop moments like the nagging female “la la la” murmurs of ‘The End Of Time’. As with the vastly underrated Weddoes, it would be almost too easy to dismiss these songs as “all sounding the same” but when they are this bittersweet and heartfelt, it’s impossible not to be genuinely affected. A band designed to put a spring in the stride and remind you of dust-covered albums you once adored, Pia Fraus are a glimmering discovery in the here and now.

reviewed by: Ian Fletcher for Comes With A Smile

Pia Fraus is a band from Estonia that started sometime 1998. And by March 2001, they released their first album titled Wonder What Its Like. The was actually a CD-R limited to Estonia. Lucky, a demo found its way to Clairecords. Now, a lot more people can hear the wonderful music of Pia Fraus.

Produced by the band and a group called Uni, the second installment of Pia Fraus is a masterpiece. The album starts out with a bang. 400 & 57 comes in loud with textured guitars and a good melody. Everything goes steady with just a vocoded voice and guitars on Right Hand Traffic then back to Rein Fuks and Kristel Leiode's vocal on a favorite track How Fast Can You Love. Another recommended song is Octobergirl. Sounding like the Cocteau Twins or Lush, the song just gets to you once it hits the chorus "Whispering, don't need you. Whispering, can't hate you." A similar feel would be Bibabo. The album ends with Zodalovers - one for the mix tapes - "You and me, change the world, kiss the stars..."

With all the bands coming out this 2002, Pia Fraus becomes an instant favorite and will definitely make Rocketship and My Bloody Valentine fans proud. And what's more is that the album comes in a nice metallic two-tone silver and burgundy design making the album more collectable for its music and art.

reviewed by: Mario Serrano for Pinoy Central

The genre of shoegaze has pretty much been dead for awhile now, with the demise of the pioneers of such dreamy, textured sound (Slowdive, My Bloody Valentine). Loveless remains the untouched masterpiece of not only that genre, but for many, music as a whole; there are few albums that can come close to its resonance or sweeping indefinable beauty. Since then, countless bands have attempted to recapture the spirit of this lost art; most of them fail miserably, trying too hard to fill shoes that could never be filled. Coming out of nowhere, or Estonia if you insist on being precise, Pia Fraus make the closest attempt to recovering some of what made shoegaze so great with their first widely available album In Solarium. While it is obviously a stripped-down yet blatant mimicry of the sounds created on Loveless, there is still an unavoidable power within it. The thing is, they rip My Bloody Valentine so well that most people would hear it and think they had found a second disc to Loveless that no one ever knew about. It's that close. So basically, if you are fan of noisy dream pop and have accepted the fact that Kevin Shields will probably never do another album, you can buy this and at least have something close.

reviewed by: Blake Butler for Allmusic

In some alternative universe where My Bloody Valentine’s Blinda Butcher shares makeup with Stereolab’s Laetitia Sadier, a band like Estonia’s Pia Fraus wouldn’t be such a big deal. With this being the real world, their second release In Solarium, is a wonderful middle ground between grace and noise—the epitomy of dreamy pop.

Icy synths and heavily effected guitars dominate here, from the creamy “No Need For Sanity” to the hyperactive opener “400 & 57” and the sludgy “How Fast Can You Love”. A lot of the singing is shared between Kristel Loide and Rein Fuks, again bringing comparisons to the by-now canonized My Bloody Valentine (not a bad thing if you ask me, as I’ve never heard anyone who could even touch MBV). Also in the sounds like department, “Bibabo” actually fools me sometimes into thinking I’m listening to something off of Lush’s Gala. I’m sure it sounds like Pia Fraus is merely an emulator of other people’s styles—considering that I’ve never heard such a unique juxtaposition, how can that be a bad thing?

Kudos goes to any band who would name a song “The End of Time and Space Like We Used to Know It is After You Have Finished Your Tea Approximately at 5:07 PM”. Recommended listening for any fan of shimmering guitar pop.

reviewed by: Jack Alberson for FAC193

Beautiful and heady thick pop with breathy vocals. The sound of Estonia's Pia Fraus is something like a cross between The Cocteau Twins and Harpers Bizarre. The band has a thick sound that is heavy on guitars and keyboards while the vocals are very melodic and right on target for this style of music. The band's first album (Wonder What Its Like) was released in a limited edition CD-R in Estonia. There are no less than six individuals in Pia Fraus, which may explain the thick and complex arrangements. On the first listen one might tend to dismiss these folks as just another generic modern band with too much going on. Upon closer inspection, however, it becomes obvious that these folks are absolutely skilled and intriguing in the way that they construct their songs. The vocal melodies are far beyond what is normally found in pop music. And even though the melodies sometimes seem to be buried beneath a wall of sound, after a few spins the listener is bound to find themselves happily humming along with these infectious and thoroughly upbeat songs. Stunning cover art completes the package, making this release both compelling and stunning. Best cuts: "400 & 57," "Bibado," "Octobergirl," "Zodalovers." (Rating: 5+)

reviewed by: Babysue LMNOP Reviews

Pia Fraus "In Solarium" (Clairecords) This Estonian(!) band mix a lovely swirl of male and mostly female voices with some sweetly harmonic sci-fi cool shoegazing soft thunder, that recalls some of the similar things Stereolab have done, but a bit more consistently upbeat, less kraut-groovy and more poppily effervescent, with great comet streaking momentum and rushing in the jangling melodic rumble, like Telstar on valium. Dreamy and worthy of repeated listenings.

reviewed by: George Parsons for Dream Magazine

As a music critic, one of my favorite weapons in the ol' arsenal is the term "derivative". If you don't like something, you just drop the ol' "D Bomb", thoroughly proving your deep musical knowledge, as well as the band's ineptness. Now, I normally try to reserve that sort of drastic measure for special cases, such as any pop-punk band ripping off Green Day ripping off The Ramones. But sometimes I get taken down a peg, when I realize that much of the music I like is pretty derivative as well.

Take, for instance, Pia Fraus. Anyone familiar with My Bloody Valentine's "Loveless" or Lush's "Spooky"-era output will immediately recognize this young Estonian group's lineage. In fact, pull aside some of your friends and play Lush's "Superblast!" followed by, say, "The End Of Time And Space Like We Used To Know It Is After You Have Finished Your Tea Approximately At 5:07 pm" (whew... I wished I got paid by the word for these reviews), and dare them to tell one from the other. And when they pile on the Stereolab-ish synth-noodling (think more "Dots And Loops" than "Sound-Dust") on tracks like "How Fast Can You Love", the influences become all that more blatant.

Of course, none of that stopped me from smiling from ear to ear as soon as "400 & 57" launched itself from the speakers. Or when I heard that graceful bassline that underscores "No Need For Sanity". Or whenever Kristel Loide's detached vocals could be heard from underneath a mile of fuzzy guitars, farfisas, and synths. In fact, nothing stopped me from having a silly grin on my face the first couple of times I heard it, or from moving my body to the propulsive rhythm of "Octobergirl".

Perhaps what keeps this from feeling like another rehash is how joyfully the band seems to follow their influences, with nary a care in the world. Most people associate dreampop/shoegazer music with fairly dreary imagery; rainy days, overcast skies, wintry evenings, and the like. But the exuberant melodies and hooks in "In Solarium"'s songs rebel against that sort of imagery, something that was driven home as I was driving back to Lincoln one night. The skies had been fairly overcast, and yet in the west, the sun was beginning to slip under the cloud cover. As it did, the entire sky seemed to catch fire and melt the clouds away.

For one brief instant, as the road curved, the sun sat right in front of me, turning the interstate into a river of gold. For one brief instant, as Pia Fraus floated out of the speakers, I drove into the sun.

And there's nothing derivative about that.

reviewed by: Jason Morehead for Opus