With a melancholy that flirts in a very organic diagram with a delusional, but proficient and sensational sonorous grandiosity, the music of Tides of Man is a colossal wave of a continuous journey of fragile, but lucid realities, framed by a picture of elemental dreams. Flirting a little with a very discreet type of sentimental minimalism – that is as marvelous as methodical –, their modest, but singular style has on the ordinary rhythmic vicinities of its anatomy the expansive mordacity of an unborn symphony entirely made on existential serenity.
The general pace of the harmonies is permanently calm and slow, but, paradoxically, the guitar lines display a ferocious and sometimes ardent, passionate emotional vitality, that impregnates the music with the splendor of an abrasive, but sincere aggression, that expands the boundaries of the musical procession to the innermost perceptions of the listener’s personal sensibilities, propitiating a fantastic connection with the soul and the essence behind the music, that can be properly classified as profound, sober and ardently consistent.
While the album is not perfect, and has some moments of insipid monotony, the album manages to be a fabulous exemplar of the genre, with its qualities far obscuring the minor generic commonalities somewhat inherent to the genre. As a matter of fact, in its abundant passages of gracious virtuosities, Every Nothing comes close to a state of the art work. Definitely, this is an album for the post rock scene to be proud of – a work where methodical technique, authorial creativity and genuine sonorous mordacity meet, with an extraordinary and fantastic result.