Šimanský and Niesner draw inspiration from American folk and blues of the 1950s. You can notice links to contemporary guitarists such as James Blackshaw or Daniel Bachman, or drone forms that resemble John Kolodij’s creations. This album is light, subtle, and brilliantly demonstrates building a narrative from the sound of an acoustic guitar and through monotonous and resonant long forms.
More: https://thequietus.com/articles/32454-best-central-eastern-european-music-2022 Jakub Knera
Spacey, electronic sounds are brilliantly counterpointed by the recordings of nature, and the heaviness is balanced by subtle guitar chords. Niesner avoids pathos and opts for rather subtle nuances, imaginative arrangements, and a dramatically constructed lyrical story.
More: https://thequietus.com/articles/32149-czech-music-guide-tomas-niesner-irena-and-vijtech-havlovi-gurun-gurun Jakub Knera
Polish trio Melisa combine elements of noise rock, grindcore, mathcore, and sludge with lyrics that balance between poetic and political. Bandcamp New & Notable Jun 21, 2022
I love the Czech Republic and their cultural treasures as much as I love America with all the weirdness that came out of immigrants that felt free to do whatever they wanted, like jamming a metal cone into a "lute" to be louder than anybody else. This album is for me the embodiment of this love.
https://dyingforbadmusic.com/blog/post/2019/04/imansky-niesner.html Dying For Bad Music