post rock
Omission is an album released recently, in October 4, by German post rock act Noorvik. A very concise album — only thirty-five minutes long —, the record has only four long tracks: 1) Floating; 2) Above; 3) Hidden; 4) Dark; with sober, linear and simple, but pungent harmonies, the music of Noorvik works unpretentiously with all the ordinary elements of the genre, though they are combined in generally decent and coherent melodies, that are subtly highlighted by the uneventful tonalities of a sensible, impeccable and serene style.
Though the music in Omission presents all the ordinary elements of the genre — appearing at first to be just a generic record —, the album manages to be a competent and salutary representative of post rock, eager to display a satisfactory array of qualities, that are indeed decently combined to converge altogether in a set of organic and gracefully conceived mosaic of sounds. Despite the technical proficiency and the creatively dispersive strength of the band, though, unfortunately their style becomes too entrenched in a monotonous and obnoxious cycle of vulgar sonorous features, which makes the album impossible to outstand itself.
The dense uneasiness of its improbable calmness certainly can be considered its most valuable, precise and defined quality; gives substance to the form of the music, and its consistency derives its dynamic impetus from the visceral perception of the harmonies. Omission is not bad at all, its just too ordinary, too similar to other albums of the genre. For this reason — as a musical endeavor —, the work failed to develop an identity of its own; nevertheless, the record is somewhat accessible and decent, and has enough virtues to find an audience willing to appreciate its qualities.
While authenticity and creativity cannot be considered Noorvik's greatest talents, undoubtedly, the band's technical excellence is what stands out the most. The bass guitar lines becomes exceptionally distinct in some passages, and the band affirmatively knows how to display a style able to produce a clean and robust sound all the way through. In a general evaluation, Omission is an album that can be enjoyed, albeit moderately, without any expectation whatsoever.
Wagner
Though the music in Omission presents all the ordinary elements of the genre — appearing at first to be just a generic record —, the album manages to be a competent and salutary representative of post rock, eager to display a satisfactory array of qualities, that are indeed decently combined to converge altogether in a set of organic and gracefully conceived mosaic of sounds. Despite the technical proficiency and the creatively dispersive strength of the band, though, unfortunately their style becomes too entrenched in a monotonous and obnoxious cycle of vulgar sonorous features, which makes the album impossible to outstand itself.
The dense uneasiness of its improbable calmness certainly can be considered its most valuable, precise and defined quality; gives substance to the form of the music, and its consistency derives its dynamic impetus from the visceral perception of the harmonies. Omission is not bad at all, its just too ordinary, too similar to other albums of the genre. For this reason — as a musical endeavor —, the work failed to develop an identity of its own; nevertheless, the record is somewhat accessible and decent, and has enough virtues to find an audience willing to appreciate its qualities.
While authenticity and creativity cannot be considered Noorvik's greatest talents, undoubtedly, the band's technical excellence is what stands out the most. The bass guitar lines becomes exceptionally distinct in some passages, and the band affirmatively knows how to display a style able to produce a clean and robust sound all the way through. In a general evaluation, Omission is an album that can be enjoyed, albeit moderately, without any expectation whatsoever.
Wagner
