ambient / alternative / contemporary / neoclassical

Reminiscence is an album released on March 28, by Swedish soundscape ambient artist Martin Mileros. Forty-eight minutes long, the album has eleven tracks: 1) Map of meaning; 2) Saudade; 3) Sonoluminescence; 4) Hands holding truth; 5) Eternity in an instant; 6) Take us somewhere nice; 7) A place for shelter; 8) Flutter, chaos; 9) Metamorphosis; 10) Distant lights; 11) She soars over the stillness; a beautiful album with incredibly serene, graceful and calmer songs, Reminiscence expresses the pragmatic, though melancholic delicacy of an artist whose despondent soundscapes seems confined to a symbolic, but paradoxically mordacious periphery of solitary and conspicuous desolation, a vortex of resolute arbitrary thinking, where a resonant soul displaces into its nefarious dissidence a conjuncture of simple, but cohesive harmonies,  fulfilled by an inherently salutary and creative consistence, that displays behind its organic synergy an infinite river of vivacious artistry. 

With fantastically dense and sober minimalist tendencies, the music of Martin Mileros has a vigorous, but deeply concentrated dynamic axis, whose creative impetus departs from the vortex of its own lethargic, but omnipotent desolation.  Despite the fact that the music seems almost frozen at certain passages, there is a passionate and virtuous glory that highlights the everlasting possibilities of its discreet melodic vastness, whose expansive tendencies devises a hyperbolic sense of infinity, that rises within the fantastic sensibility of the artist’s spectacular perception of sensorial splendor.  

Almost designing a perfect world of sonorous tranquility and nostalgia, Reminiscence creates a perception of sound that invariably displays the integrity of its own accessible and gentle grandiosity, without ever appearing megalomaniac, pretentious or egocentric – its genuine beauty unveils a fabulous and sensitive degree of sagacious originality, whose creative majesty revolves around the tenderness of a primordially peaceful and introspective style. With a beautiful rhythmic layout that rises from the horizon of perennial and placid, but primordially delicate musical densities, the restless harmonies that graciously rise from the bottom of this lucid universe of unbreakable serenity definitely open the gates of a kingdom of quintessential elements, whose stagnant echoes glances at the most solemn aspirations of the human heart.  

A gracefully conceived work, whose discreetly diluted symphonies depart from the ghostly features of its own melancholic and lugubrious volatilities, the sensible cantilenas that emerge from the imaginative kingdoms of humane glory that best describe the music of Martin Mileros certainly transpose a fragile, but sincerely ardent victory of pungent artistic splendor. Exposing without fear a passionate vulnerability that revolves around the veracity of the human nature, Reminiscence reveals a formidable degree of sensibility, that unequivocally displays a singular talent on the rise. Definitely, Martin Mileros is a superb artist, whose spectacular level of audacity might surprise us all in the future.  

 

Wagner

post rock/ neoclassical / experimental

Emitter is an album released in March 29, by British neoclassical experimental group The Pirate Ship Quintet. One hour long, the album has nine extensive tracks: 1) First; 2) Companion; 3) Third; 4) Emitter; 5) Fifth; 6) Wreath; 7) Seventh; 8) Symmetry Is Dead; 9) Ninth; a formidably exceptional and majestic album, with beautiful, inventive and creative harmonies, the music of The Pirate Ship Quintet can be classified as something of an otherworldly beauty. Its glorious splendor displays majestic melodic devices, that definitely captures and invites the listener to embark in an everlasting journey of sensible and delightful intensity, within an expansive and lugubrious universe of deliverance and rational grace.

An album that you wish never to end, Emitter has predominantly calmer and serene melodies, that underlines its own atmosphere of striking and profound vagueness. With an impeccable technical structure – that expands from the vicinities of its discreet, but mordacious neoclassical aspirations –, the audacious creativity of the band has no limits whatsoever, as you can hear saxophone and cello occasionally, marvelously diluted into the dissonant and almost somnolent horizon of a translucent, expressive and insurgent coldness. 

With a sonorous indolence that is essentially indebted to post rock, all the general additions the band has incorporated into their musical framework proved to be vital and exceedingly functional elements to conceive a very distinctive and singular style. One hour long, the album is never monotonous nor homogeneous; its fortuitous qualities impregnates the proverbially abundant tonalities of its horizontal creative line, that effectively dissipates over its sober artistic cosmogony such a superb level of authenticity, that it’s impossible not to feel astounded while listening this splendid masterpiece. 

A magnificent and highly impressive album – something extraordinary for a work that is essentially quieter, discreet and serene –, Emitter displays a graceful, even nostalgic, neoclassical atmosphere, that aggregates an interesting concept into its fundamentally unorthodox and unique musical features. With a profoundly innovative and original proposal, The Pirate Ship Quintet reveals itself to be a sensational and tremendously aggrandizing musical group, whose genuine sonorous identity is consistent enough to take the underground scene by storm. 


Wagner

ambient / neoclassical 

With four tracks – Salts Ēnaiss, Wynneta, Māris Dāncis and Winnatautas Pintega – Māris Tensīlis, the latest release by neoclassical sound artist Āustras Laīwan, despite its general conciseness, is a gracious, dynamic and poetic musical effort, deeply authorial, genuine and sensible. As the music flows deeply in the waterfalls of a restless and intuitive creative sagaciousness, the imperial desolation that emanates from these everlasting melodies seems to revolve around centuries of dense and somewhat nefarious sentimental obliteration.


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The sonorous style prevalent in this album is mostly melancholic and despondent, though a gracious and delicate beauty is always present. The minimalist harmonies can be quite rapturous, as they ascend to a platform of absolute serenity, where no fatalist demise can be properly acknowledged without its respective level of suffering. Nevertheless, there is an abundance of gracious elements of despondent displacement, something reminiscent of an omnipotent sadness, inherent of an endless rainy day, that circumnavigates the brutality of its own acrimonious agony.  

While the album has a mostly dark and dense musical layout – almost mythical in some passages –, the general style is beautiful, emotional and quite original. With a formidable style of his own, Āustras Laīwan, a project solely created and developed by musician Aleks Āulaukis, that is involved in several others musical acts, with deeply authorial and genuine creative layouts, delivers a formidable and translucent paradigm of fugacious, though exceptional beauty, that standardizes a graceful horizon of distinctive features into a distant realm of elegant lethargy and perennial sophistication of sensitive perceptions. 

Beautiful and intriguing, Māris Tensīlis reveals itself a marvelous mosaic of endlessly audacious creative possibilities. With a post-classical outtake on sentimental sincerity that incorporates life delivered as a quintessential form of art, this majestic work deserves to be heard and consecrated as a refined, though modest milestone, that embraces existence as a poetic hyperbole of the human soul. Definitely, this is a work that would leave its audience in rapturous excitement, and desperate for more releases of Āulaukis, as soon as possible.  



Wagner

ambient / classical

Sound In Silence

experimental / noise

alternative rock / psychedelic rock

death metal

post rock

ambient / classical

doom / black metal

black metal

hardcore

metal / death metal / metalcore

facebook

ambient

Krysalisound

Sometimes an album works so inspiring that a lot of words flow through my keyboard without actually describing the album itself. This album, a remastered reissue of  Paw Grabowski's 2015 release, came in for review a while ago. Yet, instead of become the subject of a review, it became the musical guide for the opening scene of my new book, or at least for the atmosphere. While these six gloomy but beautiful ambient pieces floated through my speakers, my mind wondered off and inspiration came in huge numbers. So for that,  Paw Grabowski, thank you. Now, let's go into the music itself, because that is what we're here for, isn't it?


Actually, this review could be very short. 'The Forest Is Sleeping Within The Trees' is a six track album, built around the piano and the pump organ. One of the keywords here is "minimalism" as the sounds of both instruments seem to dance with and around one another. Fans of artists like William Basinski , Tim Hecker or Stars Of The Lid will easily appreciate these six tunes. The whole thing is gloomy, driving on looping organs and quite often repetitive piano touches. The latter give the music a neat sense of pulsation.

It's not easy to select a favorite track, perhaps it's 'Part 1', a somewhat rhythmic and enticing piece of music. 'Part 2' is more experimental, a bit harsher. It still wanders through ambient landscapes, but feels rougher. 'Part 3' is dreamy and seductive while 'Part 4' drags the listening along dark drones and eerie soundscapes. The others are up to you to discover and I really recommend checking out this gem. Piano ambient doesn't often come this narrative and immersive, I can tell you that!!!


Serge

drone / ambient

death metal / grindcore

death industrial / dark ambient

Exabyss Records

post rock / ambient / electronic

ambient / classical

funeral doom

gothic rock / alternative / metal

drone / ambient / folk

dark ambient 

alternative rock / funk rock

facebook

indie / dreampop

industrial / electronic

Perc Trax

​Serge (2 & 3 by Patsker)

modern classical

Piano Fantasia is an album released in November 1st, by Japanese post classic pianist Yuki Murata. Almost forty three minutes long, the record contains twelve relatively short pieces: clammbon, forgotten carousel, dear my cat, utopia, red owl, elephant dance, bird sings a lullaby, melody, ice flower, phosphorescent, flying tricycle and good-bye, hello. Like fragmentary surreal pieces that fly over colorful universes of short, but somewhat disdainful and quiet sentences, Yuki Murata’s style resonates over her own subtle and discreet, though marvelous exponential incandescence, flirting with a sophisticated, but delicate and expansive minimalism, in the elegant evanescence of efficient melodies, that acts extravagantly as an everlasting rhapsody of epic personal fury, though healing as gracefully as a butterfly about to proceed on its first flight. 

With the fantasy of a glorious universe of sentimental tenderness, the music of Yuki Murata is the excellence of a perfect and dynamic technique in action, despite the fact that the strength of her soul predominates, talking through the melodies in an ardently spontaneous, though delicate flavor; with a general serenity that sometimes flirts with melancholy, her style is completely destitute of superficial and redundant extravaganza. She goes direct to the point, but with such a graceful and fabulous splendor, that you feel the simple elegance of the harmonies floating through the endless storms of her naturally creative output. Slowly, these wonderful symphonies of serenity reveals a sincere, but majestic sonorous cohesion, that keeps fragmenting oceans of sensibilities deep down the anatomy of a mournful restless spirit. 

With graceful sonatas and sentimental cantilenas that absorb, but at the same time expose a lugubrious atmosphere of intuitive delicacy, the sonorous densities that comes out of the songs converge altogether to the axis of its essentially lucid, pungent and vivacious atmospheric peripheries, to gently inspire the infinite horizon of musical possibilities that delightfully revolves around the listener to become its own allegoric universe of colorful vastness, reinstating over its elements the glorious majesty displayed by a virtuous and gracious technique. 

Sidelined by a lucid perception of poetic vitality, and a proverbial grace of harmonious delicacy, Yuki Murata’s Piano Fantasia is a mellifluent cosmogony of latent splendor; a great collection of symphonies, where an abundant correlation of spectacular beauty is embraced by the conscious exuberance of a dispersive mosaic of proficient melodies, marvelously designed and arranged altogether to reinvent the universe, in a microcosm of ephemeral, but consistent delight. 



Wagner

ambient

A Quiet Divide is an album released on October 5, by New Zealander artist Rhian Sheehan. A dense and profound ambient music album, the record has
Thirteen tracks: Elegy for the Past, The Absence of You, Lost Letters, Soma Dreams, Between Us and the Dying Starlight, We Danced Under a Broken Sky, Toward the Sun, Last Time We Spoke, Atlas, Someplace, All Who Remain, April and 1982. With a lucid and lugubrious, but also calm and placid serenity, the overall style of the artist is gracefully organic, splendorous and beautiful, definitely beyond the constellations of an ordinary musical twilight. With harmonies that integrates thoughts and emotions into a singular universe of profoundly humane sensibility, the music of Rhian Sheehan is a marvelous experience for the sensitivity of our nature, as propitiates to the listener the opportunity to undergone a delicate journey throughout the vastness of its own perceptions, to discover a little more about the personal galaxies that sleeps inside the empty abscesses of humankind’s omniscient collective dreams. 

With a light, but horizontal musicality that sleeps inside the painful road of memories, the sound of this fabulous work is gentile and soft, and invites the listener to stay in a corner of eternity that is simple, familiar and friendly. Without exacerbated or majestic ambitions, the style derives its sensibility from the most pure desires of the human nature, converting into sound the vicissitudes of its translucent and sincere aspirations, that fragrantly exposes on the nudity of its harmonies the most fragile elements of its densely poetic qualities.

Sidelined to a ghostly atmosphere, there is a warm that comes closer to the soul, as the album slowly and warmly progresses. Deciphering the enigmas of exhausted empty days – but understanding the gratitude necessary for the human mind to redeem itself –, Rhian Sheehan seeks beyond the salutary reverences of the sound its inherent value, to elaborate a symphony where everything can converge to an everlasting love, as the vital components of his music breaths, searching vividly for life, and interacts with the ardent splendor of an infinite day of happiness, that will never fade away. This revolves gently in the mind, and perpetuates a cycle of sonorous resignation, where everything is destined to be assimilated into an everlasting state of rapture, after days lost in a tornado of increasing anxiety.       

A beautiful music that oversees its own paradigm, sometimes reluctant, sometimes peaceful and silent, A Quiet Divide is definitely a marvelous and instigating album. With a peculiar and dense atmosphere, Rhian Sheehan gives life to a somewhat stagnant style, and transforms the most placid aspects of its latent dormancy in a serene, vigorous and glorious dream, that will agitate the sensibilities of your existence for all the days to come. 


Wagner

post rock / neoclassical / ambient

Ashes of the Past is an album released on May 16, by Iranian post rock/neoclassical ambient group Crows in the rain. An epic, dense and very colorful masterpiece, a little more than two hours in length, with eleven extensive tracks, the work is very long. The songs are the following: Beyond The Flying Mountains, Meteorite Shower, Lights In Front Of A Dead Sea, For A World That Sounds Like It's Meaning, She, Requiem For A Dreamer, 12/26, Cosmic Dawn, Running Through Paradoxical Dreams (Live in Azadi Tower), I Will Build The Future On The Ashes Of Past Memories and Rain Will Come. With lucid, proverbial and vivid peculiarities, that really deserves a profound appreciation, Ashes of the Past is a very slow, smooth, easy listening and reflexive album, that gently invites the listener to embark almost literally in a sensitive journey to another dimension – to a very secretive, dormant and singular continent of existence – to rest in some place where the divinities of nature, usually excessively distant from the ordinary grievances of the present, finally appear in abundance, to refresh your approach on life.   

With exceedingly soft and outspoken harmonies, the work seems to depart from the unexpected infinity of its inherent and soft nature; here, the listener has to participate in the cinematic perceptions of the sensibility of the music, as the sound evolves from one personal universe to another, denoting the omniscient ambivalence of its melodic purposes with an almost restless and deliberate plausibility. With straightforward serenity and calmness, the music present on Ashes of the Past is severely relevant within its own perspective, as it grows from a sidereal necessity that understands – and explores with subtle intelligence, talent and patience – the perfection of the sound hidden in the silent veracity of harmonious audacities.     

With a sound that oscillates between the verges of post rock, neoclassical and ambient – but probably doesn’t bothering at all with labels and categories – the ecstatic and gracious music of Crows in the rain is a discreet journey into the most esoteric areas of infinity. Deeply resurfacing on harmonious conjunctures that exhibits at the twilight of its own reverberation the continuous atmosphere of a placid existential intuition, the style of the group is severely expansive and impulsive, but restrained at the silence of its own enigmatic sonorous frontiers. Astoundingly innovative and fearlessly original, Crows in the rain fulfills at the axis of its imaginary devices the resolution of their own genuine sonorous affability.  

Despite the general simplicity on the structure of the music, the style of the group is intriguing and profoundly creative. Working some minimalist tendencies as well, their technical competence and timing also highlights itself strongly, denoting for the composition of this work a whimsical dedication, whose final result certainly advocates the excellence of their phenomenal, but exceedingly dilapidated qualities.  
 
Despite the fact that Ashes of the Past is a very beautiful album, it’s more recommended to audiences who already enjoy a great familiarity with the genre. As the rhythm of the album is severely calm and slow, it certainly will sound monotonous for people who aren’t used to this kind of music. Nevertheless, for its entire run, Ashes of the Past resounded the tempestuous brilliance of its formidable creativity and originality, certainly deserving a special place of honor on the history of ambient rock music. 


Wagner

ambient / drone

industrial / metal / drum & bass

classical

metal

grindcore / crust

ambient / techno

new wave / alternative rock

black metal

bandcamp

black metal

classical / post rock / jazz

facebook

drone doom

hard rock / metal

black metal / noise

dark jazz

Serge