Almost fifty-three minutes long, the record has eight tracks: Longyear, A.L.F., 1816, Lake Of Solitude, Touch Of Chixculub, Alarm #1202, Red Shift and Nubo Vetera Promesas Pluvon. With a sensitivity that passes on through the salutary boundaries of the harmonies, the expressive and almost transcendental calmness ingeniously conceived by such wonderfully cohesive melodies has the power to transport the listener to a more meaningful and fantastic dimension of splendidly infinite and dispersive sonorous elements, where absolutely everything responds to the sensitivity of the human nature in a more grateful and intense atmosphere.
A very beautiful album, that definitely has improved the standards for the genre in a very drastic, almost hyperbolic musical tenacity, Let Nature Take Its Course is a gracefully ordained and linear – but impressively surreal – allegory of infinity, since you can almost feel the vastness of the universe flowing everywhere, through your veins, through your dreams, through your life, at the most ardent and imperative sentences of the music, that recues from the limits of its sonorous insurgencies the true elements of a real conception of artistry.
Don’t get me wrong, the album is not perfect, and has its fair share of monotony – mainly at the passages in the middle of the album where its harmonies gets dangerously close to progressive rock – but they are too little to compromise the elegance and the profound grandiosity of the work, so they don’t deserve in fact a meaningful mention. My final evaluation on Let Nature Take Its Course is the best possible: this is a terrific, splendid and very original post rock album, that works creatively in a very authentic disposition the greatest attributions of the genre, giving to its audience a gracefully significant and consistent state of the art work.