progressive rock / alternative / experimental
Ravage is an album released in September 8, the debut work of nooM, a French progressive and experimental rock project. Thirty-six minutes long, the record has seven tracks: 1) 12:34 AM; 2) Crescent; 3) Nuages; 4) Leave Me; 5) Parting; 6) When We Look At The Stars, We Whisper; 7) Where The Night Ends Us; with a serene and fugacious, almost melancholic musical splendor, the style displayed by this amazing artist is simple, but elegant, refined and masterfully cohesive. Delivering a sound agglutinated by a sensitive, but dispersive consistency, the dynamic vividness of the melodies are graciously perceptive, but also synchronically convergent. Its protuberant calmness dilacerates the introspective restlessness that subtly resides in the essence of its magnificent artistic splendor.
The marvelous easiness of all the progressive elements are gracefully inserted into the music. The style displayed by the artist anticipates on the dynamism of its iridescent insurgencies the arduous glories of its sincere and vigorous creative possibilities. Despite its strong, homogeneous and exceptionally grounded style, the artist displays a colorful and intricate level of eclecticism and versatility. The fifth track, Parting — which in my opinion is the best — proves that perfectly. Featuring the exceptionally beautiful voice of singer Louise Dissous, the graceful vivacity of her voice certainly adds a tender element of exotic mystery to this song, that not only fits the melodies with gracious intensity, but also complements wonderfully the general guidelines of the rhythm.
Although in a general evaluation the album can be considered very simple, Ravage is a cohesive and genuinely authorial work of art, whose creative strength is a musician that not only understands perfectly how his most salutary qualities work, but also has the wisdom to use his technical excellence and creative virtues to conceive a sublime universe of dispersive majesty, where everything can be converted to a sonorous diagram of colorful proficiency, ostensibly crafting a dimension where musical sensibility and dynamic pragmatism come together, to conceive restlessness as a new form of sentimental freedom.
With gracefully renitent guitar lines that evokes the purity and calmness of a universe that has never seen light before, the music displayed in Ravage is exceptionally beautiful, and filled with a gracious imponence that is not only sincere, but also exponetially lucid and proverbial, though essentially somber in nature. Nevertheless, the style delivered by nooM is dense, dynamic and relentless, but paradoxically vivacious and splendid. Definitely, Ravage is a very intriguing, resonant, quite eventful album, a masterpiece whose practical peculiarities redefine musical boundaries, within the diluted framework of a creative mind, that knows no limits or restricitions to its magnificent audacious nature.
Wagner
The marvelous easiness of all the progressive elements are gracefully inserted into the music. The style displayed by the artist anticipates on the dynamism of its iridescent insurgencies the arduous glories of its sincere and vigorous creative possibilities. Despite its strong, homogeneous and exceptionally grounded style, the artist displays a colorful and intricate level of eclecticism and versatility. The fifth track, Parting — which in my opinion is the best — proves that perfectly. Featuring the exceptionally beautiful voice of singer Louise Dissous, the graceful vivacity of her voice certainly adds a tender element of exotic mystery to this song, that not only fits the melodies with gracious intensity, but also complements wonderfully the general guidelines of the rhythm.
Although in a general evaluation the album can be considered very simple, Ravage is a cohesive and genuinely authorial work of art, whose creative strength is a musician that not only understands perfectly how his most salutary qualities work, but also has the wisdom to use his technical excellence and creative virtues to conceive a sublime universe of dispersive majesty, where everything can be converted to a sonorous diagram of colorful proficiency, ostensibly crafting a dimension where musical sensibility and dynamic pragmatism come together, to conceive restlessness as a new form of sentimental freedom.
With gracefully renitent guitar lines that evokes the purity and calmness of a universe that has never seen light before, the music displayed in Ravage is exceptionally beautiful, and filled with a gracious imponence that is not only sincere, but also exponetially lucid and proverbial, though essentially somber in nature. Nevertheless, the style delivered by nooM is dense, dynamic and relentless, but paradoxically vivacious and splendid. Definitely, Ravage is a very intriguing, resonant, quite eventful album, a masterpiece whose practical peculiarities redefine musical boundaries, within the diluted framework of a creative mind, that knows no limits or restricitions to its magnificent audacious nature.
Wagner
