The Swedish band Tid has been active for about a decade, during which they have offered sporadic releases that can be traced back to two ep, Bortom Inom (2007) and Giv Akt (2010) and the full length Fix Idé (2016), all in the name of a musical form almost unclassifiable at the stylistic level but far from being disorganized and, if anything, full of remarkable innovative ideas. The Sign Records has recently become the protagonist of the meritorious operation to put back on the market the entire discography of the band and, for the occasion, we decided to deal with the most recent one, precisely Fix Idé. Moreover, at the media level, the fact that the engine of this project is Martin Persner, credited as one of the Nameless Ghouls of Ghost pre-diaspora, inevitably increases curiosity and attention, so this kind of pretext to approach the work of Tid is welcome, since we are in the presence of a musical expression of rare freshness. Fix Idé is a work that moves across a thousand stylistic nuances, never ceasing to stimulate the senses of the listener between ethnic drives, hints of post-metal, electronic, dance and ambient, with the melodic aspect always well placed in the foreground and a consolidated song form despite a restless compositional vis. Dumhetens Gudinna, song chosen not surprisingly as the first single for its catchy pace, brings to mind the work of the controversial KLM, among the first to graft heavy metal riffs on an electro dance base; Aurora Surrealis is instead a dreamy and melodic track, although always rhythmic just the right, proving to be the peak quality of the work, but they are not even less than Solens Nya Namn, always rippled by a restlessness electronic, and Demimond with its final singing and persuasive. If we wanted to find a flaw in Fix Idé is only to last a little less than half an hour, but the intensity and quality of the sound offered by Tid rejects any objection of the kind: the value of an artistic expression can not be determined by any means of measurement that is not the perceptive capacity of the listener and, in this sense, the album has a lot to offer, retaining the thickness of the most advanced and sophisticated works without ever expiring in brainless passages.
2016 – The Sign Records
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