post black metal
Let me die on your roots is an album released in April 23, by Spanish atmospheric/ melodic black metal project Trees, Clouds and Silence. A little more than forty one minutes long, the record has seven tracks: Autumn breeze, Winds of change, Under your weeping flowers, Point of no return, Echo, Desolation point and Let me die on your roots. With delicate, but vastly undulant and circumjacent melodies, the melancholic and taciturn style of the project, persistently sidelined by harmoniously perceptive embraces of shadowy rhythmical portraits of sentimental monuments ostensibly converge with the magnanimously filtered embrace of its purely simple, but dramatic sonorous resonances, that inoculates the winter of human sensibilities into a scope of frozen symphonies, whose content fervently communicates with the toughest yearnings of the soul.
A calmer album, whose songs digress objectively over the permanent holocaust of human emotions, the splendor of its robust intentions deeply contrast with the simplicity of its graciously patient tonalities, that displays on the conscience of its tempestuous technicalities the flavored rapture of an enigma that crystalizes the vicinities of its own serenities; serenity upon which each and every note of all of its tracks fluctuates, through an amazing grace of everlasting, sober and placid calmness.
Despite the fact that the rhythms of the songs are exceedingly slow all the way through, the album is not at all monotonous, neither predictable nor too much simplistic, but full of an equalizing and moderate sense of artistry. Its surrealistic poetic ventures aggregates a certain aura of logic mystery and splendid tranquility to the consistency of its songs, that are gracefully delineated at the most discreet axis of an imaginary universe.
If, by one hand, Let me die on your roots is a formidably good record, despite its tremendously slow harmonies, that do have an abundant degree of qualities and creativity displaced at the anatomy of its pungent and perfectly restrained melancholy, on the other, the album is not too surprising, nor excellent. It’s a very good work – for sure –, if you maintain your expectations on the right place. But certainly, it is totally appreciable on its fullest ground, and showcases a modest degree of musical seriousness, sobriety and coherence, that does solidify the singular peculiarities of the artist’s gracious and singular style.
Wagner
A calmer album, whose songs digress objectively over the permanent holocaust of human emotions, the splendor of its robust intentions deeply contrast with the simplicity of its graciously patient tonalities, that displays on the conscience of its tempestuous technicalities the flavored rapture of an enigma that crystalizes the vicinities of its own serenities; serenity upon which each and every note of all of its tracks fluctuates, through an amazing grace of everlasting, sober and placid calmness.
Despite the fact that the rhythms of the songs are exceedingly slow all the way through, the album is not at all monotonous, neither predictable nor too much simplistic, but full of an equalizing and moderate sense of artistry. Its surrealistic poetic ventures aggregates a certain aura of logic mystery and splendid tranquility to the consistency of its songs, that are gracefully delineated at the most discreet axis of an imaginary universe.
If, by one hand, Let me die on your roots is a formidably good record, despite its tremendously slow harmonies, that do have an abundant degree of qualities and creativity displaced at the anatomy of its pungent and perfectly restrained melancholy, on the other, the album is not too surprising, nor excellent. It’s a very good work – for sure –, if you maintain your expectations on the right place. But certainly, it is totally appreciable on its fullest ground, and showcases a modest degree of musical seriousness, sobriety and coherence, that does solidify the singular peculiarities of the artist’s gracious and singular style.
Wagner
