post rock / progressive rock
Pathways is an album released in early September, by American post rock / progressive rock one man musical project The Amnesia Cycle, from Lafayette Township, New Jersey. A relatively concise album, the record is only forty-one minutes long, and has eight tracks: Stepping Through I, The River Akasha, Hands of Etain, A Poem of Leaves, The Mark, The Elixir, Trinitatis Ruina, A State of Rest and Stepping Through II. With very organic and proficient melodies, that are highly concentrated on the symmetric energy of diluted cadences, made proverbial by profound and dynamic guitar lines, the musical groundwork for Pathways relies mostly on the axis of vastly dispersive melodies, whose strength is intimately enticed to the expansive calmness of its serene, but flexible alignment, permeated by digressive harmonies.
While the melodies lead the listener to a diffuse, but latent space of vague sonorous abstractions, the artist maintains the coherent nature of his style in majestic and horizontal dissonances, that grows over the abundant colorful tonalities of its iridescent notes. Despite the fact that sometimes he stays for too long overreacting on the placidity of his hyperbolic sensibilities – and as a result, the sound remains somewhat predictable – the artist knows how to delightfully extract beauty from the melodies in motion; as the guitar majestically rises as the predominant feature, that leads and dictates all the musical ordinances from within its anatomy of sensorial intuition, the notes become reliant on its despondent, but lucid densities, extracting discreet poetic lines in the intangible ocean of its creative planetary waves.
As the sound becomes cosmic and deeply expansive, its flavor becomes more consistent; nevertheless, starts to display an inevitable sense of monotony, as the melodies suffer from a lack of rhythm change. Though this is expected, the sound devices highlight on its surface the mosaic of harmonies that serves as a compulsory algorithm of its natural dynamic. Overall, Pathways is a beautiful album, despite the lack of audacity, an element that could drive its harmonies to more effervescent boundaries.
Despite its simplicity, the album is deeply enjoyable, especially for enthusiasts of very diffuse progressive rock. With decent harmonies, that are organically induced to a paradigm of predictable dynamic virtues, the melodies outline an aggrandizing flow of musical antagonisms, that understands and corroborates the grace of its qualities, as well as its primary deficiencies. Unfortunately, this is assimilated in the indulgence of its relevant zone of convergence, where the equation of its fundamental sensibilities also become its weaker features.
Wagner
While the melodies lead the listener to a diffuse, but latent space of vague sonorous abstractions, the artist maintains the coherent nature of his style in majestic and horizontal dissonances, that grows over the abundant colorful tonalities of its iridescent notes. Despite the fact that sometimes he stays for too long overreacting on the placidity of his hyperbolic sensibilities – and as a result, the sound remains somewhat predictable – the artist knows how to delightfully extract beauty from the melodies in motion; as the guitar majestically rises as the predominant feature, that leads and dictates all the musical ordinances from within its anatomy of sensorial intuition, the notes become reliant on its despondent, but lucid densities, extracting discreet poetic lines in the intangible ocean of its creative planetary waves.
As the sound becomes cosmic and deeply expansive, its flavor becomes more consistent; nevertheless, starts to display an inevitable sense of monotony, as the melodies suffer from a lack of rhythm change. Though this is expected, the sound devices highlight on its surface the mosaic of harmonies that serves as a compulsory algorithm of its natural dynamic. Overall, Pathways is a beautiful album, despite the lack of audacity, an element that could drive its harmonies to more effervescent boundaries.
Despite its simplicity, the album is deeply enjoyable, especially for enthusiasts of very diffuse progressive rock. With decent harmonies, that are organically induced to a paradigm of predictable dynamic virtues, the melodies outline an aggrandizing flow of musical antagonisms, that understands and corroborates the grace of its qualities, as well as its primary deficiencies. Unfortunately, this is assimilated in the indulgence of its relevant zone of convergence, where the equation of its fundamental sensibilities also become its weaker features.
Wagner
