Borealis is the personal project of the Asturian guitarist Eduardo Suárez. Once a member of Full Shot Noise (Metalcore), Audiotrack (Post Rock) or Echtra (Kraut Rock), she began experimenting with other sounds even before her stay in these groups, until releasing a first EP as Borealis in 2008, in a line of acoustic and electric post rock comparable to that of Six Organs Of Admittance or Voice Of The Seven Woods.
However, in 2012 Eduardo presented The Eyes of the Superworld, a six-track EP in which Borealis’ sound took a primitivist turn, banishing all electrical instrumentation. The EP was a collection of six solos for twelve-string guitar, making extensive use of the fingerpicking technique. The album was published outside our borders by the London label Reverb Worship, in a limited edition of 52 copies. In 2013, his sequel, Tomb for a Lame Horse, was presented, a full-length work where Eduardo developed the concept of dronic and primitivist folk of his predecessor, including greater harmonic richness and the use of six-string acoustic guitars. Again, the work was published by Reverb Worship, in a small edition of 50 copies.
Apparently minimalist and repetitive, halfway between primitive, ambient and drone-folk, Borealis’ music is tense and landscaped, and maintains a delicate balance between primitivism and neatness, between intimacy and intensity. It is born from Eduardo’s notable expertise as a fingerpicking guitarist, but he also presents careful harmonies and knows how to excite. Starting from the melodies that emanate from the ghostly fingers of Leo Kottke, John Fahey or Robbie Basho, Eduardo Suárez turns his head to European roots, finds Celtic inspiration and knows how to give his melodies a surreptitious and not obvious Asturian flavor. Arpeggios, clicks of thimbles and constant pulsations on metal strings whose solemn hum evokes vivid and colorful dreamscapes.
