black metal / blackgaze
Euphony of Heralds is an album released in middle April by Iranian musician Harpag Karnik, under the alias Etheraldine. With a style a priori difficult to categorize, by virtue of its exceedingly experimental nature – although the album does maintain as the core of its foundation a calm and introspective melodic grace – the artist does a fine, ethereal and very picturesque mixture of several genres, like atmospheric black metal, neoclassical ambient and post black metal, that really works in a very abstract, serene and poetic density of expansive artistry, exposing an elusive and constant reiteration of harmonious correlations within his musicianship, that revolves around a very singular universe of preemptive cosmogonies. If, by one hand, the overall sonority of the album can be defined as awkwardly simple, on the other side of this venture, it can also be described as audaciously creative. In a discerning principle that displays – as well as endures – a hazardous conflagration of beauty, the music of Etheraldine is a discreet, but marvelous silhouette of introspective melancholy, sidelined with the objectifying splendor of a cohesive elasticity.
Relatively concise, being only forty-two minutes long, the record has only four tracks, that in general, lasts all about ten minutes each, more or less. They are: The Scent of Limerence, Luminescent Dreams, A Ballet for Eidolon and Euphonious Odes. With guitar lines that boasts the severe grandiosity and the ardent splendor of its impatient notes, the imponderable – but almost visual, palpable – traces of serenity that this album disseminates in vast abundance creates within the personal immemorial galaxies of the listener a confluence of calm battles that vehemently dissipates the harmonious terrain of its impetuously and eloquently musical continuous grievances.
With a serenity that impersonates the viability of its melodic and exhilarating grace, Euphony of Heralds is a pervasive monument of reflexive propensities, that deeply wanders over the elusiveness of its transient tracks; with a preponderant calmness that sees over the splendor of its sagacious and delightfully patient, allegorical, sonorous vicinities, these beautiful, transcendental symphonies of serenity certainly revives at the axis of its simple, but meritorious overtones, the overwhelming sensibilities of its own distinct and cohesive poetic placidity.
Despite the fact that the album does have a simplicity very easy to assimilate, it doesn’t undermine the ability of the audience to appreciate its eagerness and honesty. All the way through, Euphony of Heralds does reveal itself to be a cohesive, intriguing and very decent album, that certainly deserves to be properly analyzed by the diffuse elements of its serene experimental nature, whose more passionate enthusiasts will certainly celebrate the undertaking grace of its creative and consistent musical sagacity.
Wagner
Relatively concise, being only forty-two minutes long, the record has only four tracks, that in general, lasts all about ten minutes each, more or less. They are: The Scent of Limerence, Luminescent Dreams, A Ballet for Eidolon and Euphonious Odes. With guitar lines that boasts the severe grandiosity and the ardent splendor of its impatient notes, the imponderable – but almost visual, palpable – traces of serenity that this album disseminates in vast abundance creates within the personal immemorial galaxies of the listener a confluence of calm battles that vehemently dissipates the harmonious terrain of its impetuously and eloquently musical continuous grievances.
With a serenity that impersonates the viability of its melodic and exhilarating grace, Euphony of Heralds is a pervasive monument of reflexive propensities, that deeply wanders over the elusiveness of its transient tracks; with a preponderant calmness that sees over the splendor of its sagacious and delightfully patient, allegorical, sonorous vicinities, these beautiful, transcendental symphonies of serenity certainly revives at the axis of its simple, but meritorious overtones, the overwhelming sensibilities of its own distinct and cohesive poetic placidity.
Despite the fact that the album does have a simplicity very easy to assimilate, it doesn’t undermine the ability of the audience to appreciate its eagerness and honesty. All the way through, Euphony of Heralds does reveal itself to be a cohesive, intriguing and very decent album, that certainly deserves to be properly analyzed by the diffuse elements of its serene experimental nature, whose more passionate enthusiasts will certainly celebrate the undertaking grace of its creative and consistent musical sagacity.
Wagner
