black metal / progressive / experimental
Behind the Sun is an album released on April 27 by American black metal act Stoicism. Almost fifty-two minutes long, the record has seven extensive tracks: Intoxicated Ones, Transmogrification, Decay, Unearthed, Threshold, Four Colors of the Rising Moon and Wanderer. With an ascendant, positive and very energetic sound, the music of Stoicism can be best described as vigorously elusive and fast black metal, oriented by a salutary coalition of surreptitiously power and progressive metal elements, that converges to dilapidate an harmonious picture of melodies laboriously and graciously inserted at the epicenter of its surreal and sensitive cosmogonies. Perfectly equalizing brutal and ferocious harmonies with serene and peaceful interludes, the artistic proposal of Stoicism is to get out of ordinary musical grievances, and introduce the listener to a world of more creative and unpredictable possibilities, which this musician do in a very sophisticated and personal style.
Despite all of his creativity, the general linear basis of Stoicism’s music is black metal in its purest and most brutal form, although the rapidness of its signature style, and most prominently, agonizingly grasping vocals are the main elemental features of black metal present on this album. Departing from this basic tenure, the sonorous structure of the music is expanded to abduct more intricate forms of expression, with an interesting level of experimentation that is not excessive, and introduces itself with subtle longevity in the correct passages. With rapid, indulgent rhythms, framed by elegant algorithms of intransigent fury, the overall sound on Behind the Sun is a gracious preamble of sagacious vitality, that dilates the harmonies of the songs on the frontier of its more nervous and ardent vicinities, while concomitantly inviting the listener to dive deeply into its introspective universe of abstract splendor.
Although the sound sometimes appear to be plastic, cohesively immersed in a brute state of sidereal dehydration, the infinite sensibilities upon its omniscient creative instincts are explosive to a certain degree. Despite the fact that certain specific passages sounds redundant, the record has a general integrity and a peripheral cohesion that ostensibly communicates the voracity of its expressive sensibilities in very simple and humane tonalities.
A beautiful record that, despite having some major limitations – mostly on the sometimes excessively uniform sonorous diagram of its structure, that changes too little times all the way trough – Behind the Sun is an interesting and different album, that has a distinct proposal of graceful and sensible beauty, that discreetly, but competently showcases on its music the coherence of its motivations. Deeply and consistently touching the proverbial nuances of a sound that becomes as drastically revealing as it is progressively dramatic, without fear of truly exposing its content, this work sincerely exhibits a very flexible, sensitive and dynamic artist, that is really attentive to the truth of its talent, and to the perceptions of its possibilities.
Wagner
Despite all of his creativity, the general linear basis of Stoicism’s music is black metal in its purest and most brutal form, although the rapidness of its signature style, and most prominently, agonizingly grasping vocals are the main elemental features of black metal present on this album. Departing from this basic tenure, the sonorous structure of the music is expanded to abduct more intricate forms of expression, with an interesting level of experimentation that is not excessive, and introduces itself with subtle longevity in the correct passages. With rapid, indulgent rhythms, framed by elegant algorithms of intransigent fury, the overall sound on Behind the Sun is a gracious preamble of sagacious vitality, that dilates the harmonies of the songs on the frontier of its more nervous and ardent vicinities, while concomitantly inviting the listener to dive deeply into its introspective universe of abstract splendor.
Although the sound sometimes appear to be plastic, cohesively immersed in a brute state of sidereal dehydration, the infinite sensibilities upon its omniscient creative instincts are explosive to a certain degree. Despite the fact that certain specific passages sounds redundant, the record has a general integrity and a peripheral cohesion that ostensibly communicates the voracity of its expressive sensibilities in very simple and humane tonalities.
A beautiful record that, despite having some major limitations – mostly on the sometimes excessively uniform sonorous diagram of its structure, that changes too little times all the way trough – Behind the Sun is an interesting and different album, that has a distinct proposal of graceful and sensible beauty, that discreetly, but competently showcases on its music the coherence of its motivations. Deeply and consistently touching the proverbial nuances of a sound that becomes as drastically revealing as it is progressively dramatic, without fear of truly exposing its content, this work sincerely exhibits a very flexible, sensitive and dynamic artist, that is really attentive to the truth of its talent, and to the perceptions of its possibilities.
Wagner
