black metal / blackgaze
Intrusiveless is an album released on June 1st, by Scottish avant-garde/ post black metal project In Autumnus. With a peculiar and very diffuse, dispersive sound – primordially derived from blackgaze – that can be generically described as post black metal, the style of In Autumnus is irrevocably quite fragrant, affable and soft. The serenity of its melodies comprehends the sensational balance between distant or incompatible realities, in a frugal sensibility of sonorous cohesion that perfectly understands the general layer of its majestic proposal, as well as the restless propensities that its gentle insinuations generates, using the genuine cosmogonies of the sound as a fuel.
With a beautiful and latent inherent inclination that departs from a quiet principle of musical tenderness, the overall sound present in Intrusiveless is quite beautiful and sentimental, from the surface of its credulous antagonism to the most profound layers of its fragile anatomy; the harmonies exhibit on the grace of its simplicity a fundamental quietude that revolves around the fragments of its peaceful ambitions, and dilapidates on the molecules of its subtle, discreet sound, the coldness of the solitude that seems chronic to the human condition, seemingly analyzing with the delicacy of its sonorous intuition the intensive destitutions of the overall human frivolity.
Almost fifty-two minutes long, the record has seven tracks: Intrusive, Ephemeral, Intrusiveless, August Drew In, Steeple Gates, Solaris and June 12th. With a wise and intelligent style, that appreciates the easiness of its own sonorous calmness, Intrusiveless becomes almost an essentially introspective journey towards the opacity of the human nature. With its calmer and quasi-minimalist harmonious perception, the serenity of the sound almost talks directly to the yearnings of the soul, and profoundly disperses in an invisible universe of pristine relaxation the beautiful singularities of a rhythmic dissonance, never testified before by the realms of conscience. Definitely, there is a wonderful and consistent comprehension of sincerity present in the work, specifically inserted in the context of its deliberate wonderful and tense exponential calmness, that reveals in the structure of its musical conflagration a creatively ordained pyramid of imperial galaxies, that slowly manifests its grandiosity by the delusions of its modest grace, that appears arbitrarily lost in the imponderable thoughts of an unknown ordination of infinity.
While the sound does make you travel in a lurid ocean of fragile speculations, the beautiful and soft textures of its harmonies balances the soul throughout the fortresses of a colorful infinitude of forgotten realities, too obliterated to be understood, but, at the same time, simple enough to be fully appreciated. At the perfection of its technical insurgencies, the style of the artist gets progressively more and more latent, solid and cohesive, and as the calmness expressed in the music revolves around your own perceptions about the music, its source of comprehension becomes stronger and stronger, and the lucidity of its tempestuous revocations increasingly gets clear, as the music functions as a sentimental mirror of emotional states, that slowly elevates the listener into a more individual path of excitement and rapture, as the songs also become increasingly “violent”, emotionally, and starts to arbitrarily project the anxious aspirations of its deceptions into its own melodious inclination of whispering the whimpering thoughts that falls directly to this empty domain of conspicuous realities.
Exceedingly emotional and poetic, Intrusiveless is an interesting and very consistent work, whose intensity departs solely from the basis of its own deceptive calmness, which understands the grain of sensibilities that projects over its own skyline of singularities the virulent ocean of harmonies that becomes such a tempestuous and fertile emotional grace.
Wagner
With a beautiful and latent inherent inclination that departs from a quiet principle of musical tenderness, the overall sound present in Intrusiveless is quite beautiful and sentimental, from the surface of its credulous antagonism to the most profound layers of its fragile anatomy; the harmonies exhibit on the grace of its simplicity a fundamental quietude that revolves around the fragments of its peaceful ambitions, and dilapidates on the molecules of its subtle, discreet sound, the coldness of the solitude that seems chronic to the human condition, seemingly analyzing with the delicacy of its sonorous intuition the intensive destitutions of the overall human frivolity.
Almost fifty-two minutes long, the record has seven tracks: Intrusive, Ephemeral, Intrusiveless, August Drew In, Steeple Gates, Solaris and June 12th. With a wise and intelligent style, that appreciates the easiness of its own sonorous calmness, Intrusiveless becomes almost an essentially introspective journey towards the opacity of the human nature. With its calmer and quasi-minimalist harmonious perception, the serenity of the sound almost talks directly to the yearnings of the soul, and profoundly disperses in an invisible universe of pristine relaxation the beautiful singularities of a rhythmic dissonance, never testified before by the realms of conscience. Definitely, there is a wonderful and consistent comprehension of sincerity present in the work, specifically inserted in the context of its deliberate wonderful and tense exponential calmness, that reveals in the structure of its musical conflagration a creatively ordained pyramid of imperial galaxies, that slowly manifests its grandiosity by the delusions of its modest grace, that appears arbitrarily lost in the imponderable thoughts of an unknown ordination of infinity.
While the sound does make you travel in a lurid ocean of fragile speculations, the beautiful and soft textures of its harmonies balances the soul throughout the fortresses of a colorful infinitude of forgotten realities, too obliterated to be understood, but, at the same time, simple enough to be fully appreciated. At the perfection of its technical insurgencies, the style of the artist gets progressively more and more latent, solid and cohesive, and as the calmness expressed in the music revolves around your own perceptions about the music, its source of comprehension becomes stronger and stronger, and the lucidity of its tempestuous revocations increasingly gets clear, as the music functions as a sentimental mirror of emotional states, that slowly elevates the listener into a more individual path of excitement and rapture, as the songs also become increasingly “violent”, emotionally, and starts to arbitrarily project the anxious aspirations of its deceptions into its own melodious inclination of whispering the whimpering thoughts that falls directly to this empty domain of conspicuous realities.
Exceedingly emotional and poetic, Intrusiveless is an interesting and very consistent work, whose intensity departs solely from the basis of its own deceptive calmness, which understands the grain of sensibilities that projects over its own skyline of singularities the virulent ocean of harmonies that becomes such a tempestuous and fertile emotional grace.
Wagner
