post rock

The year 1099 saw the Siege of Jerusalem during the First Crusade.  Pope Paschal II succeeds Pope Urban II, as the 160th pope. In the USA, Form 1099 is a much feared IRS tax form. In Norway, 1099 is an excellent post rock band that deserves a lot more attention than they got.

I first got acquainted with these instrumentalists through there immersive 'Young Pines' album back in 2015 (read). Now, they return with a brand new epos, one that almost got lost in the pile of albums to review. With 'Blindpassasjer' 1099 take their inspiring sound to new lengths.


With twelve songs, together creating a quite long album, 1099 take the usual elements from post rock acts like Mogwai, God Is An Astronaut and This Will Destroy You and strip them down to Alice In The Cities, Tortoise and Radare levels. The result is still a post rock album but one that flirts with jazz, Americana, western soundtracks and surf pop. Opener 'Silverdal' is a pure post rock tune and 'Tundra' is a pure post rock masterpiece but then there is 'Osiris', thriving on wind instruments and Moogs. It reminds me of Belgian act Condor Gruppe and I think that is a very good thing. It adds variation, plus it makes the whole thing suitable for both the cosy living room and the blasting festival speakers.

But we're not done there. 'Under Isen' takes the both dark jazz scene and The Shadows by the arm and invites them for a gloomy but immersive post-whatever jam session. By now, only four tracks into this album, I feel I'm getting angry. That doesn't often happen but suddenly it is there. It's an anger much like the ones I feel when there is injustice somewhere. I'm thinking "why aren't these guys playing the festivals? Why are they stuck in Norway?" I now feel like it's my duty to recommend them for Dunk! 2019. I am damn confident that they will awe and inspire heaps of people in Zottegem, much like I did with Spoiwo, Cecilia::Eyes and Radare. 'Blindpassasjer', the title track is a lust for the ear, brilliant in every note.

'For Seg Selv' also is utter brilliance, now digging deeper into the dark jazz scene than before. And with this one, I'm going to stop doing a song-by-song description. There are other stunning highlights to be found but I will leave those up to you to discover. In my time as a music reviewer I have been glorifying post rock bands like crazy. Many of them have ended up in my end-year lists and with 1099 I'm going a step further. This might not be the biggest or most popular post rock band in Europe but it is definitely one of the best. They showcase a ton of musical skills and experience. They showcase a neat playfulness while enchanting the listener with pure beauty.

Oh well, I guess you get the idea by now. Let's all move to an island together, away from the so-called civilized world and make the guys from 1099 our government. They deserve it. Now go buy that album.


​Serge

by Wagner

black metal

Storm Borrower is an EP released in mid-May by Slovenian atmospheric black metal project Veldes. Almost thirty-four minutes long, the work has three relatively extensive tracks: The Songless Forest, the title track, Storm Borrower and Where Rivers Turn To Ashes. With its genuinely poetic, gentle, reflexive and profound style, exceedingly philosophic and resigned in nature, Veldes has a very peculiar, insightful and dispersive outlook on atmospheric black metal, his genre of choice. 
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With singular and very expansive premises, basically sinister in nature – but that has its energy entirely concentrated on beautiful and melancholic melodies –, on this work, Veldes present to its audience three personal anthems of sad and dismissive, but peaceful majesty, that comes as one with the nature and the cosmogony of his restless mind. As an infinite lugubrious crisis that revolves around the epicenter of its own demise, the persistently serene, but profoundly pungent melodies present on Storm Borrower reveals an experienced and wisely skilled artist, that knows how to convert with dense precision all the sensitivities of his heart into a deeply elusive, giant and delicate sonorous art. Definitely, a work that elevates the genre into an entirely new standard of creative lucidity, highlighting the beautiful propensities of its fantastic qualities. 

black metal

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Foragt is a two songs EP released recently by Danish black metal project Angantyr. A little less than twelve minutes long, the record is very concise, with only two tracks – Foragt and Knækkede Knogler, Brækkede Ben – that brings back and rescues what raw black metal really is, and really should always sound like. With powerfully rude rhythms, vigorous and nervous intensity, tremendously sinister harmonies and an astoundingly rapid musical pace, the work is simple, objective and direct, but certainly has exponential qualities that lives up to the most ardent and crucial elements of the genre. Despite the fact that Foragt doesn’t present any innovations, the work compensates its lack of audacity executing and exhibiting with masterful precision one of the most relevant works on contemporary traditional black metal. While the conventional elements do prevail, the vast degree of loyalty the artist has to the genre is showcased in a very competent, decent, furious, dense and skilled musical labor, that presents at the genuine cohesion of its sonorous integrity the full comprehension of what black metal truly is, for real.  

black metal / avant garde

Echoes of the Past is an EP released in May by epic and atmospheric black metal group Kaatarakt, from Geneva, Switzerland. Twenty two minutes long, the record has five tracks: the title track, Echoes of the Past, The Gathering, Màttr Ok Megin, Little Troll's Tale and Sunless Dawn. With a formidable, gracious, colorful and brilliant perception of artistry, the high level of originality displayed by the group certainly is impressive. Breaking boundaries and virtually consecrating to all the diversifying components of their music a more majestic and imperially sensible degree of creativity, Kaatarakt works with a tremendously great capacity and synergy elements of symphonic, folk and Viking metal; and does that with such a confidence, that they wonderfully display in the sound a very singular style of their own. 
With furious guitar lines, but exceedingly poetic harmonies, that understands and conglomerates the palpable agitation of their vividly intuitive and agglutinating musical perceptions, Echoes of the Past is a wonderfully original, splendid and marvelously conceived musical work. Certainly, it’s has in abundance all the necessary qualities to captivate the attention of ardent enthusiasts of more genuinely avant-garde styles of metal. 

black metal

The Winter Silence is a four tracks EP, released by atmospheric black metal act Remete on May 18. Although extremely simple on its surface, and in the general display of its melancholic sensibility, the work is creatively conceived, and decently executed. Exploring deeply the greatest attributions of the genre, in a collision of imponderable vicissitudes upon which its harmonies dissipate throughout the blackness of a lost and lugubrious universe, The Winter Silence is a sonorous ode to spiritual loneliness and solitary desolation, almost a sacred, silent and discreet anthem to human obliteration on the vastness of infinity. A sentiment perfectly echoed by the second track – that can be described basically as an almost acoustic line of resigned affliction –, upon which the next track is like a heavier and dense continuation. A very interesting, calm and profoundly conceived work of art, that really understands and explores in a majorly creative fashion the most salutary qualities and devices of the genre, The Winter Silence definitely is a spectral lancination of fatidic void and intermittent anxiety, beautifully conceived at the height of a hallucinatory – but vividly sonorous and tense – dark realm of silent despair.    

post rock

Omina is the title of an EP released in the beginning of May by Italian post rock group Augure. Very concise, having only eighteen minutes, and three tracks – Grunesfeld, Eis and Tides Tale – the work has an elegant, sober, precise, expansive and lucid musical perception. Its harmonies display cohesion, intensity and emphatic graciosity, although at the same time a lethargic, tense and heavier sense of depressive anxiety seems to penetrate subtlety onto the voracious vitality of the harmonies, enticing to its latent and disruptive, but blurred designation of reality a melancholic principle, which is greater than what was initially conceived. Although the work is concise, it certainly gives a vast insight about the full potential of the group, which is certainly promising and, to a moderate degree, tremendously impeccable – at the least in their formidable level of technical proficiency – since the band incisively demonstrates that knows with plain authority what they are doing, and what they are capable of. 

black metal

Songs of Mourning is a three songs EP released by atmospheric black metal act Forlorn Citadel. A beautiful, very sinister and incisive EP, permeated by a dense, inescapable and furious – yet exceedingly subtle – atmosphere, the music, despite the echoes of its straightforward simplicity, has a consistent and profound anatomy, sidelined by the specter of peculiar and gracious harmonies. With a generally calmer and despondent melodic layout, almost somnolent at the contiguous and irreplaceable patience of its melancholy realm, Songs of Mourning lives by the height of its title, transmitting to the listener the sentiment of grief upon which its music softly relies. A pure, direct and simple, but gracefully conceived atmospheric BM EP, its precious qualities certainly revolves around the surreal macabre symphonies of its discreet grandiosity, that echoes on the peaceful harmonies of its somewhat restless dissidence the oblivious diligence of its musical twilight.          

black metal

With amazingly great, ascendant and sober guitar lines, and exceedingly impulsive, rational and flexible, but wonderfully delineated melodies, Cult of a Dying Sun is an album released by American black metal act Uada, on May 25. Almost one hour of sinister and grotesquely insane harmonies – that conspicuously guides the listener into the descending blackness of an agonizing realm of emptiness, despair and loneliness – Uada has a tremendously vigorous, impulsive and surreal degree of originality, which encompasses an elaborate sense of timing, and marvelously written melodies, impeccably executed at the dense ordeal of its ferocious twilight of irrevocable abominations. 
The sagacity of their direct style can be described as rejuvenating, intense and astoundingly lucid, being permeated by the logic of a dense and fresh tenacity, that embellishes the ostensibly voracious and antagonizing sonorous perception dispersed by the group’s sophisticated technique. Being a primordially poetic, melancholic and intense artistic milestone from the beginning until its conclusion, Cult of a Dying Sun certainly deserves to be highlighted as one of the most excruciatingly pleasant, elaborated, authentic and elemental black metal records of the year.   

ambient / drone / post rock

Nineteen minutes long, having four tracks – Induction, Displacement, Awareness and Realization – Induction is an EP released by a musician from India, which presents himself by the nom de plume of Phet. With elusive and melancholic harmonies that incisively transpose the epicenter of evasively somber textures and densely consecrated harmonies, the lurid walls of sound created by the artist are consistently dense, sober and almost palpable. With a rich and colorful conjuncture of melodies that obey what appears to be an ascendant logic of greatly punctuated resonances, the general musical layer found in Induction is simple, but brilliantly conceived and executed. With a deliberate convergence of elements that ably works altogether to dilapidate the genre, and achieve the best result possible, Phet masters the glorious lucidity of a singular style that circulates within the sensibility of its own apex. Wonderfully achieving a full creative labor that definitely has understood the anatomy of its sonorous principles, Phet has proved with this concise, but impactful EP, that he certainly has what it takes to be a major reference in the underground scene.    




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Selection and reviews by Wagner

post rock

Let Nature Take Its Course is an album released on June 1st, by Russian post rock group Human Factor. A very calm, dense and intense post rock album, with exceedingly vivid and colorful harmonies, the group amazingly impresses its audience by the subtle nature of its gracefully gentle, pure and sagacious melodies, that displays a formidable dynamic between the harmonies of its proverbial, but serene musical intonations, and the calmer diligence of its rhythmic elegance. With a graceful and imperative style, that outstands itself by the lucidity of its musical graciosity, despite some irrelevant level of predictability – that does not compromise the gloriously professional and cohesive level of musicality of the group at all – Human Factor really has conceived Let Nature Take Its Course as an amazing and marvelous masterpiece, exploring wisely, at the height of its gracious and magnificent splendor, the most significant and genuine qualities of post rock, absorbing in their creative input the irrevocable simplicity of a primordially sensible work of majestic artistry. 

Almost fifty-three minutes long, the record has eight tracks: Longyear, A.L.F., 1816, Lake Of Solitude, Touch Of Chixculub, Alarm #1202, Red Shift and Nubo Vetera Promesas Pluvon. With a sensitivity that passes on through the salutary boundaries of the harmonies, the expressive and almost transcendental calmness ingeniously conceived by such wonderfully cohesive melodies has the power to transport the listener to a more meaningful and fantastic dimension of splendidly infinite and dispersive sonorous elements, where absolutely everything responds to the sensitivity of the human nature in a more grateful and intense atmosphere. 

A very beautiful album, that definitely has improved the standards for the genre in a very drastic, almost hyperbolic musical tenacity, Let Nature Take Its Course is a gracefully ordained and linear – but impressively surreal – allegory of infinity, since you can almost feel the vastness of the universe flowing everywhere, through your veins, through your dreams, through your life, at the most ardent and imperative sentences of the music, that recues from the limits of its sonorous insurgencies the true elements of a real conception of artistry. 

Don’t get me wrong, the album is not perfect, and has its fair share of monotony – mainly at the passages in the middle of the album where its harmonies gets dangerously close to progressive rock – but they are too little to compromise the elegance and the profound grandiosity of the work, so they don’t deserve in fact a meaningful mention. My final evaluation on Let Nature Take Its Course is the best possible: this is a terrific, splendid and very original post rock album, that works creatively in a very authentic disposition the greatest attributions of the genre, giving to its audience a gracefully significant and consistent state of the art work. 
  

Wagner

black metal

Winternight Poetry is an album released on May 25, by the Belarusian record label Symbol of Domination Productions. The work of Russian atmospheric black metal project In Tenebriz, which was independently released in February 20, the record has seven tracks, all named Winternight Poetry, from one to seven; or you can interpret the work as having only one longer track, divided into seven parts, if you wish. A very sinister and diffuse black metal work, the macabre and grotesque symphonies of this record are generally consistent, and very sober, despite its basically calmer and serene – sometimes quite charming and beautiful – atmosphere. 

A work that qualifies its own somber and precise style by the grace of its pungent and corrosive assertive melodies, the harmonies of Winternight Poetry are quite clear, ardently delineated, fragrantly comforting and beautifully simple. Marvelously executed to some degree, unfortunately, Winternight Poetry does have some moments of monotony, although nothing that can compromise the musical integrity of the work, nor your capability of actually appreciating the album. At the height of its qualities, I can certainly point it out the gracious and almost benevolent aspects of its salutary melodies, that crucially define with rude and objective maturity the lancinating cohesion of its nefarious style. 

While Winternight Poetry cannot be regarded as a masterpiece, the work definitely has its merits. In the vivid and somber elaboration of a dense, afflictive and anxious atmosphere, that concomitantly sounds elevating and calm as well, In Tenebriz creates a lurid, diffuse and intriguing work, that revolves around the ambitions of its own grandiloquence the fundamental principles of its musical proposal, rejuvenating discreetly some aspects of the genre, like serenity as the alabaster of the sound, and its anomalous latencies, impregnated with permanently sinister despondencies. 

While the album will hardly impress experienced listeners, it definitely maintains an individual degree of competence, that makes it worthwhile listening. Interesting for the most part, its excessive and easy slowness, though, at some point, becomes majorly tiresome. Nevertheless, you can listen without fear or remorse. Winternight Poetry is a lucid, intense and vibrating work, that manages to be an anthem of despair and morbidity, lost in the everlasting dust of the nocturnal sky.     

 
Wagner

black metal / blackgaze

Intrusiveless is an album released on June 1st, by Scottish avant-garde/ post black metal project In Autumnus. With a peculiar and very diffuse, dispersive sound – primordially derived from blackgaze – that can be generically described as post black metal, the style of In Autumnus is irrevocably quite fragrant, affable and soft. The serenity of its melodies comprehends the sensational balance between distant or incompatible realities, in a frugal sensibility of sonorous cohesion that perfectly understands the general layer of its majestic proposal, as well as the restless propensities that its gentle insinuations generates, using the genuine cosmogonies of the sound as a fuel. 

With a beautiful and latent inherent inclination that departs from a quiet principle of musical tenderness, the overall sound present in Intrusiveless is quite beautiful and sentimental, from the surface of its credulous antagonism to the most profound layers of its fragile anatomy; the harmonies exhibit on the grace of its simplicity a fundamental quietude that revolves around the fragments of its peaceful ambitions, and dilapidates on the molecules of its subtle, discreet sound, the coldness of the solitude that seems chronic to the human condition, seemingly analyzing with the delicacy of its sonorous intuition the intensive destitutions of the overall human frivolity.  

Almost fifty-two minutes long, the record has seven tracks: Intrusive, Ephemeral, Intrusiveless, August Drew In, Steeple Gates, Solaris and June 12th.  With a wise and intelligent style, that appreciates the easiness of its own sonorous calmness, Intrusiveless becomes almost an essentially introspective journey towards the opacity of the human nature. With its calmer and quasi-minimalist harmonious perception, the serenity of the sound almost talks directly to the yearnings of the soul, and profoundly disperses in an invisible universe of pristine relaxation the beautiful singularities of a rhythmic dissonance, never testified before by the realms of conscience. Definitely, there is a wonderful and consistent comprehension of sincerity present in the work, specifically inserted in the context of its deliberate wonderful and tense exponential calmness, that reveals in the structure of its musical conflagration a creatively ordained pyramid of imperial galaxies, that slowly manifests its grandiosity by the delusions of its modest grace, that appears arbitrarily lost in the imponderable thoughts of an unknown ordination of infinity. 

While the sound does make you travel in a lurid ocean of fragile speculations, the beautiful and soft textures of its harmonies balances the soul throughout the fortresses of a colorful infinitude of forgotten realities, too obliterated to be understood, but, at the same time, simple enough to be fully appreciated. At the perfection of its technical insurgencies, the style of the artist gets progressively more and more latent, solid and cohesive, and as the calmness expressed in the music revolves around your own perceptions about the music, its source of comprehension becomes stronger and stronger, and the lucidity of its tempestuous revocations increasingly gets clear, as the music functions as a sentimental mirror of emotional states, that slowly elevates the listener into a more individual path of excitement and rapture, as the songs also become increasingly “violent”, emotionally, and starts to arbitrarily project the anxious aspirations of its deceptions into its own melodious inclination of whispering the whimpering thoughts that falls directly to this empty domain of conspicuous realities.

Exceedingly emotional and poetic, Intrusiveless is an interesting and very consistent work, whose intensity departs solely from the basis of its own deceptive calmness, which understands the grain of sensibilities that projects over its own skyline of singularities the virulent ocean of harmonies that becomes such a tempestuous and fertile emotional grace.  



Wagner

black metal

With the graceful omnipotence of its radiant serenity, elegance and tender blackness – and with the lurid vividness of its creative allegiance of graciously aligned melodic elements –, As Stars in the Sky feels like a serene moonlight symphony, that wonderfully creates towards the vacancy of its sober delusions the intelligent solitude of an everlasting patience, with the colorful design of insanely crafted harmonies. A work of defining realities, that reach the essence of its soul, cohesively flirting with the fragrant despondency of its own mythological placidity, As Stars in the Sky almost immediately reveals itself to be a consistent and preciously robust work of art, that radically and incisively defies the conventional practicalities and musical commonalities usually displayed within the genre, with logically ardent pragmatisms and decidedly astute abilities.

As Stars in the Sky is the most recent release of a musical act from Italy, Black Kalmar Skull, which is basically a one man project, that dives himself into an incredibly impressive and sagacious mixture of atmospheric, melodic and symphonic black metal, that discharges the vast degree of its proficient, genuine, restless and superb musicality in a pervasively fantastic, gracious and somber avant-garde styled context. Relatively extensive – sixty-four minutes long – As Stars in the Sky has ten tracks: Dreams Of Life, Through The Sky, The Flame, The End Of An Era, Horizons Of Haze, Countless Stars, The Long Journey, Sadness, As Stars In The Sky III and Lost Horizons.

A graceful symphony of incomparable intensity, fuelled with virtues of the most impressive kind, albeit precisely and meticulously inserted at the right places, the overall rhythms present in the work seems to travel on a linear journey of significant vicissitude and splendor, abundantly confronting the nature of its beauty on the twilight of its own ascendancy. Despite the general harmonies being relatively simple, the expansive strength of the sonorous waves duplicates the voracious vitalities of its peripheral latencies within the perimeter of its ever-increasing melodic layout. 

Having as one of its most interesting qualities the ability to rejuvenate constantly its own melodic output, in such an outstanding level, the record never sounds monotonous or simplistic, and impersonates at the vivacity of its imperative elegance the pure splendor of its creative originality. Absolutely amazing and authentic – with all of its transcending qualities – As Stars in the Sky, with its solemn virtuosity and imperially ambitious levels of restless artistry, has what it takes to potentially please absolutely everybody interested in a more avant-garde type of black metal. 


Wagner

space rock / psychedelic rock

I kicked off today's writing session with a paragraph about the human race, mother earth and dangerous things from outer space. Well, I'd like to stay in outer space for a bit longer, partially because here on earth things are getting weirder by the day.

However, I also want to float around the galaxy to hear some immersive music, dedicated to and inspired by our incomprehensible universe. Space rock is still one of the most captivating musical styles this planet has ever seen and the Øresund Space Collective is perhaps one of the most interesting acts within that genre.


Øresund Space Collective is a loose Danish and Swedish collective, specialized in long, improvised jam sessions. On this album that is no different, except perhaps for the fact that Gary from Yawning Man decided to join in on the fun. They spend a couple of days jamming, having fun and making love to their instruments and eventually came out with 'Chatoyant Breath', an album containing some elaborate space rock tracks that is too nice to ignore.

Although I have to say, opener 'Peaceful Patterns' seems to start somewhat hesitant. For some reason it feels like the first few minutes of this track are warming up practices. However, not to worry, halfway through the song the band has lifted off with great flair, resulting is fantastic guitar solos, immersive bass lines, trippy keyboards and a constantly forward pushing set of drums. The band seems to be floating alongside the spaceships of Ozric Tentacles and Pink Floyd.

They continue the blissful journey throughout the other tunes, highlighting frequently. In fact, I really have no favorite on this album. As far as I'm concerned, this is simply one massive jam session, one that I will definitely be playing a lot in the foreseeable future. Actually, I ended my previous review with a Dunk! festival reference. Well, I'd like to do that here too. I doubt that there will be better space rock to be found than this one, honestly.


​Serge

post rock

When you take the time and effort to properly look at it, this ball of molten iron, mud and fleshbags like us, you will notice that is a pretty baffling place. Before we humans even arrived on the scene, the earth has been floating through space, sometimes being flat, sometimes being testicle shaped. It has seen countless of evolutions and extinctions. It has seen the dinosaurs being wiped out by a massive comet, resulting in an explosion of frogs and eventually mammals. Then homo sapiens arrived on the scene, which resulted in some more extinctions, like the Neanderthals or the mammoths. We're such a naughty little race, aren't we? Luckily, one day, mother earth will get sick of us too.

But in the meantime, we might as well enjoy all the beauty and splendor the human mind can generate. I mean, we are a murderous, ego-centric and intolerable bunch of assholes that severely harm our own environment like some sort of virus, but you tell me, can a virus create awe inspiring art? Can a virus pick up an instrument and enchant hundreds if not thousands of people? Only people can create, improve and evolve these abstract and symbolic things, and some of us, including Wanheda, are bloody good at it.

Wanheda is a band from Leuven, Belgium, inspired by how mankind has been affecting the earth. They don't see the rise of mankind as something positive and instead nostalgically look back to the glory days of mother nature with its gigantic insects and enormous reptiles. They do it with a dreamy and melancholic blend of post rock, progressive rock and a hint of post metal. 'The Cenozoic Implosion' contains five vintage post rock anthems, all equally narrative and gloomy. Fans of everything Explosions, Astronaut and Mogwai will adore a track like 'Luminous'.

'The Gathering Of One' is the only track with vocals, a spoken word lecture on our mutual behaviour. It's also the most experimental and progressive rock inspired song. The rest is purely instrumental, written with a solid background in post rock know-how. I think it's pretty obvious that I can imagine these guys playing on Dunk! festival. This is a classic Dunk! band who have a bunch of excellent tunes as business cards. My favorite is probably closer 'The Fissures of Humanity' but I'm sure every post rock fan will appreciate this.


Serge

I already received plenty of these neat collector items, so many that I must have missed some over the course of time. So, in a way of both making up to that and to support a hard working quality label, I decided to combine a bunch of their releases into one big Brieviews special. I guess the word "ambient" will appear quite often on this page, which obviously is another reason why I like this label so much. 

bandcamp

bandcamp

bandcamp

bandcamp

Written by Serge

post rock

Myra is an album released on May 31, by Norwegian post rock group Spurv. Fifty one minutes long, the record has eight tracks: et løfte i fall, og ny skog bæres frem, fra dypet under stenen, hviler bekkenes sang, et blekt lys lyder, fra myrtempelet, den gamles stemme brister and allting får sin ende, også natten. A very calm, idyllic, beautiful album, with serene and philosophic, but ardently pungent harmonies, that embrace together the firm vitality of a sober river of intense melodies that swiftly flow throughout the sensitive ocean of a colorful eternity, the music of Spurv is an everlasting dream of sonorous allegiance between sensitivity and glory, a meritorious – but somewhat fugacious – celebration of simple, but exceedingly expansive, vividly vibrating and lucid symphonies of living realities. 

Although their style is simple, the music is spontaneously organic, and each and every track appears to have a diffuse conscience of its own. Revolving around soft nuances that celebrate the possibilities of its creative and subtle sonorous design, Myra is a sensational and deeply inspirational voyage throughout the cracked dissidences of our own dilated perceptions. The singular notion of artistry within the group certainly has created a universe of sound upon which conscience can relax and travel as a completely autonomous entity, free to wander in a sonorous ocean of splendor, destined to be converted to dust soon afterwards. 

Despite the fact that there is nothing primordially different on this work, at least compared to other albums of the genre, Spurv outstands itself by an interesting degree of originality, that exhibits a graceful authenticity subtlety exposed in the miraculous beauty and elegance present in the consistent shape and uniformity of its sound. The textures and the symmetry of the sound is pure, but sophisticated, and intelligently devised, and its flexible, but cohesive harmonies unravel a sagacious creativity that deserves to be highlighted by the genuine strength of its style. 

Myra is a very good album. Although I must emphasize the fact that this work will hardly impress experienced enthusiasts of the genre, there is enough qualities on this album to appreciate in its entirety its proficient and surreal majesty, that makes the abysses of conscience travel throughout the most splendid spheres of existence.      


Wagner