postrock
The Last is an album released on July 9, by Italian post-rock band Alnea. With a graceful and serene, though very colorful sound, the sonorous style of the band is exceedingly beautiful, albeit somewhat generic at first. Nevertheless, the group displays a consistent musical background, that underlies the gracefully organic disposition of its diligently peaceful harmonies.
Fifty minutes long, the record has eight tracks: 1) Sophia; 2) Farewell; 3) XXII; 4) The Last; 5) Interlude; 6) Ljos; 7) Egedia (The Lighthouse Symphony Pt.2); 8) Waves (The Lighthouse Symphony Pt.3); with a serene soundscape, that penetrates and concomitantly conceives a sonorous grandiosity whose intrinsically melancholic and pungent style dilutes the sensible atmosphere of its own severe placidity, the overall grace present on this carefully sculpted work of art overflows the vivacity of an everlasting serenity, whose overwhelmingly glorious strength is impossible to dissipate.
Despite the fact that the harmonies are generally very slow, there is an intrinsic beauty in them, that expands towards a warm and gentle paroxysm. Inevitably, its diluted, but proficient sonorous cohesion generates a favorable horizon of dissonances, whose final result is a homogeneous, but refined and horizontal ocean of serenity, that seems permanently displaced in the peripheries of a restless, but splendorous creative cosmogony, that gradually circulates over the vigorous possibilities of its discreet, but imperative essence.
While the style of the group seems repetitive at times, in a general evaluation, The Last is a very good album, with some overwhelmingly excellent interludes. Displaying a moderate, yet relevant degree of authenticity, the reverberating solitude that aggrandizes the abundant ocean of sensibilities present on this expressively authorial work of art certainly qualifies Alnea as a favorable and decisive promise to the underground scene, with a fantastic set of capabilities able to generate a salutary conjuncture of gracious and imponderable sonorous features, that easily will add a new pattern of delicacy into the post rock genre.
Wagner
Fifty minutes long, the record has eight tracks: 1) Sophia; 2) Farewell; 3) XXII; 4) The Last; 5) Interlude; 6) Ljos; 7) Egedia (The Lighthouse Symphony Pt.2); 8) Waves (The Lighthouse Symphony Pt.3); with a serene soundscape, that penetrates and concomitantly conceives a sonorous grandiosity whose intrinsically melancholic and pungent style dilutes the sensible atmosphere of its own severe placidity, the overall grace present on this carefully sculpted work of art overflows the vivacity of an everlasting serenity, whose overwhelmingly glorious strength is impossible to dissipate.
Despite the fact that the harmonies are generally very slow, there is an intrinsic beauty in them, that expands towards a warm and gentle paroxysm. Inevitably, its diluted, but proficient sonorous cohesion generates a favorable horizon of dissonances, whose final result is a homogeneous, but refined and horizontal ocean of serenity, that seems permanently displaced in the peripheries of a restless, but splendorous creative cosmogony, that gradually circulates over the vigorous possibilities of its discreet, but imperative essence.
While the style of the group seems repetitive at times, in a general evaluation, The Last is a very good album, with some overwhelmingly excellent interludes. Displaying a moderate, yet relevant degree of authenticity, the reverberating solitude that aggrandizes the abundant ocean of sensibilities present on this expressively authorial work of art certainly qualifies Alnea as a favorable and decisive promise to the underground scene, with a fantastic set of capabilities able to generate a salutary conjuncture of gracious and imponderable sonorous features, that easily will add a new pattern of delicacy into the post rock genre.
Wagner
