black metal
Battle is an album released in December 6, by Russian one man musical project Breath Of Wind. A very concise record – little less than thirty-three minutes long –, the work has six tracks: Intro, Dawn, Battle, River, Cold Night and At The Star Shores. Although the general musicality found here is very simple, the style of the artist is clean, sober and objective, abundant in dense and pervasively expansive harmonies, exceedingly well-crafted and decently created.
With sensible and generally slow, but lucid melodies, the music of Breath Of Wind is consistent and gracefully conceived in a mosaic of almost imaginary epic sceneries. Like cohesive and poetic sentimental cantilenas – that gradually transforms into everlasting anthems of a splendorous realm of triumphant victories –, Battle is a very good and expressive album. Unfortunately, though, it has severe and resentful limitations. The repetitive style of the music eventually loses itself in a homogeneous, ordinary and condescending conjuncture of common ground symphonies, that can easily exasperate the listener.
By the middle of the album – fortunately –, things change a little, as more rapid and disruptive harmonies inserts creatively a vigorous and rapturous musical diagram into the music, with the addition of salutary dynamic elements magnifying the sonorous cosmogony of the work. With this formidable component, the music becomes more vivid and exhilarating, though the essence remains unchanged. The atmosphere seems a latent reminiscent of ancient poetic hymns, that were rescued from the ruins of a lost cathedral, whose memories are doomed to lay in the degraded stones that use to be the veracity of its proverbial foundations, but are destined to be completely obliterated from human history, condemned to the ashes and dust of life.
Like other albums of the genre, unfortunately, Breath Of Wind committed the same misconceptions that a lot of his colleagues in atmospheric black metal. The harmonies rely too extensively on keyboards and expansive melodies, practically neglecting all other aspects of the music. Nevertheless, Battle can be defined as a good, satisfactory and enjoyable album, a release that has something to offer to the genre, despite its excruciating simplicity.
Wagner
With sensible and generally slow, but lucid melodies, the music of Breath Of Wind is consistent and gracefully conceived in a mosaic of almost imaginary epic sceneries. Like cohesive and poetic sentimental cantilenas – that gradually transforms into everlasting anthems of a splendorous realm of triumphant victories –, Battle is a very good and expressive album. Unfortunately, though, it has severe and resentful limitations. The repetitive style of the music eventually loses itself in a homogeneous, ordinary and condescending conjuncture of common ground symphonies, that can easily exasperate the listener.
By the middle of the album – fortunately –, things change a little, as more rapid and disruptive harmonies inserts creatively a vigorous and rapturous musical diagram into the music, with the addition of salutary dynamic elements magnifying the sonorous cosmogony of the work. With this formidable component, the music becomes more vivid and exhilarating, though the essence remains unchanged. The atmosphere seems a latent reminiscent of ancient poetic hymns, that were rescued from the ruins of a lost cathedral, whose memories are doomed to lay in the degraded stones that use to be the veracity of its proverbial foundations, but are destined to be completely obliterated from human history, condemned to the ashes and dust of life.
Like other albums of the genre, unfortunately, Breath Of Wind committed the same misconceptions that a lot of his colleagues in atmospheric black metal. The harmonies rely too extensively on keyboards and expansive melodies, practically neglecting all other aspects of the music. Nevertheless, Battle can be defined as a good, satisfactory and enjoyable album, a release that has something to offer to the genre, despite its excruciating simplicity.
Wagner
