post rock / experimental
UMA is a fantastic masterpiece released on December by French post rock supergroup FalKor. To describe this album as a splendid and fabulous state of the art work is overwhelmingly insufficient and restrictive. An exceedingly organic, imponderable and lucid allegory of ghostly harmonies that slowly penetrates into the delusional creative space of a fugacious and discreet parallel reality, the music and the general style of FalKor is an imperative, but graceful resonance of majestic splendor. The first track, Olivia, is certainly one of the best songs that I ever had the pleasure to hear. Sensationally beautiful, this marvelously poetic and dense sonorous fragrance resounds the colorful vitality of its own inflictive axis of astounding grace and elegance. The music of FalKor is simple – at least, to a certain degree – but invariably profound and cohesive, and they know exactly how to explore with all the strength of their soul the energetic sensibilities of their vivacious and exceedingly genuine creativity.
Forty-six minutes long, the record has seven generally extensive tracks: 1) Olivia; 2) Battement I; 3) Abooksigun; 4) Mirror; 5) Battement II; 6) Kýma; 7) Cauchemar; with some folk, electronic and medieval elements discreetly inserted into their music, the style of FalKor is peculiarly unique, expansive and uncompromised. With graceful sonorous boundaries being humanely and profusely eroded, their music is a delusional paradox being transported from an omniscient existential somnolence to an imperative rapture of despondent vitality. Working tirelessly the most intense and serene elements of their music, FalKor delivers on this work formidable symphonies of delightful splendor and peripheral demise.
With graceful and captivating harmonies – ably inserted in a context where a consistent universe of sound collides with everlasting musical sensibilities –, UMA is a very original and intelligent creation, that fantastically revolves around the abstract densities of its own salutary musical propositions.
Despite the fact that, in the middle, the breathtaking vitality of the album declines a little, the natural grandiosity of FalKor as a sublime victory of structural, sensitive and harmonious originality remains intact. Defying the conventional rudiments of traditional musicality, FalKor unveils the unexpected, in a superb and authentic style, that definitely will make you an avid enthusiast of this fantastic band.
Wagner
Forty-six minutes long, the record has seven generally extensive tracks: 1) Olivia; 2) Battement I; 3) Abooksigun; 4) Mirror; 5) Battement II; 6) Kýma; 7) Cauchemar; with some folk, electronic and medieval elements discreetly inserted into their music, the style of FalKor is peculiarly unique, expansive and uncompromised. With graceful sonorous boundaries being humanely and profusely eroded, their music is a delusional paradox being transported from an omniscient existential somnolence to an imperative rapture of despondent vitality. Working tirelessly the most intense and serene elements of their music, FalKor delivers on this work formidable symphonies of delightful splendor and peripheral demise.
With graceful and captivating harmonies – ably inserted in a context where a consistent universe of sound collides with everlasting musical sensibilities –, UMA is a very original and intelligent creation, that fantastically revolves around the abstract densities of its own salutary musical propositions.
Despite the fact that, in the middle, the breathtaking vitality of the album declines a little, the natural grandiosity of FalKor as a sublime victory of structural, sensitive and harmonious originality remains intact. Defying the conventional rudiments of traditional musicality, FalKor unveils the unexpected, in a superb and authentic style, that definitely will make you an avid enthusiast of this fantastic band.
Wagner
