With a wonderful line of work, that departs from an overwhelming sense of serenity — that keeps intact the premises of its vastly dense and intricate layers of musical sensibility —, as I wrote above, the style displayed by the artist is simple, but filled with a diluted intensity that is as consistent, as it is subtle, and genuinely humane. The simplicity of his style is probably the best element of the music, the strength upon which the elegance of the harmonies are conceived, and the essence that draws the graceful horizons of its poetic contingencies.
Displaying a mordacious level of originality — that is effusively aligned with a sincere quest for artistic splendor —, the music of Escape from 1984 is a delicate and gracefully defined outlook on the glorious virtues of genuine authorial creativity. As a portrait of sentimental rapture evaluated at the insight of an authentic appreciation for life, the spectacular beauty present on this album is defined by a style more concerned with substance than form, and whose harmonies delivers a sincere devotion to the everlasting artistry that interacts with the dynamic dissolutions of its own introspective contrivances.
Definitely an excellent, dispersive, proverbial album — one that proportionally balances a very personal musical technique with the creative subtlety of unrepentant restlessness —, The flower, from start to finish, reveals itself to be a very authentic and salutary artistic endeavor, that not only redeems the sensibility of the project's mastermind, but also anyone who indulges in the appreciation of this wonderful work. While listening to this graceful record, its easier to truly awaken for the real possibilities of life, and better perceive the dignity and virtuosity of art through the dark contingencies of human nature, that usually lays dormant in the fruitless derelict densities of the soul.