While the overall disposition of the music is simple – even ordinary by more inflictive and postmodern standards –, its somewhat fragmented nature makes each and every one of its artistic components and cells seems awkwardly impregnated with light cavities and low densities, that craves beyond the unitary dispositional structure of the music. While its curious anatomy, exceedingly impressionistic in form, saturates the epicenter of its own sonorous perimeters with the dead anxiety of its technical precision, there is a curious, but salutary consistence in between the musical notes, that makes everything quite majestic, despite the apparent simplicity that is obviously denoted throughout its notoriously subtle context.
The quietness between the notes, and the intelligent use of silence as a musical component is quite a remarkable feature within the framework of its expansive sonorous embodiment, that amplifies the impressionistic nature of the tunes. And while there are not too much melodic variations throughout the album, it’s distinctive and deliberate harmonious predispositions are sagacious singularities, that works intelligently within the artistic concept that is generated by its inherent effect.
While I haven’t particularly loved this album – mainly because of the genre, which failed to captivate me –, I certainly give credibility to its originality, audacity and creativity, that deserves to be highlighted and properly complimented. If you look for something very unusual to hear, and want to be surprised in a very unexpected way, you have to listen to Self-Extinction, by Inhumankind. Undoubtedly, it will be one of the most unique musical experiences you will ever have in your life.