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
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
