post rock
Empty Colors is an album released by French Post Rock act Fall of Messiah. Despite the fact that the record was released more than two years ago, it certainly deserves an honest and profound evaluation, since reveals itself a modest, but sensible work of art, although its musical agenda follows the traditional formula of the genre. With an energetic symmetry whose beautiful, but at the same time discreet and imponderable harmonies overexposes the joy of its continuous, sagacious and vividly tempestuous melodies, Empty Colors is a delicate, but pungent sequence of sincere symphonies of ardent splendor, that gracefully evaluates the colorful abilities of a creativity that works heavily over the boundaries of the genre, without disqualifying not distorting its most recognizable features.
With a correlated and passive calmness that standardizes a joyful conjuncture of pleasant harmonies under subtly pertinent circumstances, Empty Colors is a very simple, but thrilling album. Very concise – only twenty eight minutes long –, the record has seven tracks: Monochromic Synesthesia, The Grey Heart Blues, Blue ruin, I always thought that one day everything would be settled, but everything just went black, Alors on en est là, à pisser sur du cuivre..., Rust and Vert-de-gris. Its brevity rejoices at the generous, but tempestuous wave of a confluent mobile objectivity, whose purpose deflagrates over the waves of its ardently ceremonial intonations the glorifying splendor of a calm, serene and everlasting sensitive ordeal.
The album does have some degree of predictability over the course of its run, but, nonetheless, it’s greatly appreciable and formidably well executed; at the peak of its more abstract moments, it is possible to feel the rapture of its graceful, but warmly diluted singularity. A delicate, measurable, exceedingly pleasant work of vigorous authenticity, Empty Colors presents to its audience simply the best qualities post rock has to offer, in a genuine, refined, unpretentious and competent creative scope, whose incredibly simple, but high standards are sufficient to evoke the marvelous placidity of its surreal grace.
Wagner
With a correlated and passive calmness that standardizes a joyful conjuncture of pleasant harmonies under subtly pertinent circumstances, Empty Colors is a very simple, but thrilling album. Very concise – only twenty eight minutes long –, the record has seven tracks: Monochromic Synesthesia, The Grey Heart Blues, Blue ruin, I always thought that one day everything would be settled, but everything just went black, Alors on en est là, à pisser sur du cuivre..., Rust and Vert-de-gris. Its brevity rejoices at the generous, but tempestuous wave of a confluent mobile objectivity, whose purpose deflagrates over the waves of its ardently ceremonial intonations the glorifying splendor of a calm, serene and everlasting sensitive ordeal.
The album does have some degree of predictability over the course of its run, but, nonetheless, it’s greatly appreciable and formidably well executed; at the peak of its more abstract moments, it is possible to feel the rapture of its graceful, but warmly diluted singularity. A delicate, measurable, exceedingly pleasant work of vigorous authenticity, Empty Colors presents to its audience simply the best qualities post rock has to offer, in a genuine, refined, unpretentious and competent creative scope, whose incredibly simple, but high standards are sufficient to evoke the marvelous placidity of its surreal grace.
Wagner
