post rock
Sondersongs is an album released on June 26, by American post rock band Whale Fall, from Los Angeles. Forty three minutes long, the record has ten tracks: True Places, Decades, Asunder, Holarctica, Cast Against Type, Reservoirs, El Llanto en Llamas, The Sondersong, This Cat Has No Moral Compass and Blue Hour. With alternative elements that encompass the sentimental sphere of a world of imponderable sensibility, the record extends the tissue of sound into the vehement placidity of structural continuities. With beautiful, elegant and calm melodies, Sondersongs works vividly the horizontal possibilities of time and space within its useful poetic proposal, while applying to the nucleus of its fertile creativity the dilated expansion of a very relaxing, plausible and humane atmosphere.
With a deeply gracious factor of ambivalence – and exceedingly confident melodies reliable on the intrinsic serenity of its hyperbolic sentiment –, Whale Fall comprehends on the expansion of its impeccable vitality the anatomy of simplicity, exploring wisely the meritorious ordeals of its unique style, that gracefully understands the innermost values of versatility, intelligently elaborated and inserted into a more limited musical universe, yet abundant of a salutary vivacity of genuine artistry.
Claustrophobic at certain times, the work in itself seems to be compressed at the dual overtones of radically indifferent miraculous sonorous restrictions, that revolves around a deliberately limited proverbial style. While the music has a tenacity and a robust playful consecration of its own, expanding in the harmonious and monumental precision of its elasticity the exacerbated tension of its relaxing nature, the record resents itself from moments of monotony, although this doesn’t compromise the creativity nor the excellent degree of technical professionalism displayed by the group at all. But you will have to tolerate at least a handful of ordinary and tedious passages to some extent.
The record has beautiful moments, a very astute premise and a credible devotion, that – if it has failed on one hand for the lack of audacity, on the other, certainly has expressed an interesting degree of extremely delicate authenticity – reveals a sophisticated potential that is obviously promising, with a lot to aggregate in the context of alternative instrumental music in future releases.
Wagner
With a deeply gracious factor of ambivalence – and exceedingly confident melodies reliable on the intrinsic serenity of its hyperbolic sentiment –, Whale Fall comprehends on the expansion of its impeccable vitality the anatomy of simplicity, exploring wisely the meritorious ordeals of its unique style, that gracefully understands the innermost values of versatility, intelligently elaborated and inserted into a more limited musical universe, yet abundant of a salutary vivacity of genuine artistry.
Claustrophobic at certain times, the work in itself seems to be compressed at the dual overtones of radically indifferent miraculous sonorous restrictions, that revolves around a deliberately limited proverbial style. While the music has a tenacity and a robust playful consecration of its own, expanding in the harmonious and monumental precision of its elasticity the exacerbated tension of its relaxing nature, the record resents itself from moments of monotony, although this doesn’t compromise the creativity nor the excellent degree of technical professionalism displayed by the group at all. But you will have to tolerate at least a handful of ordinary and tedious passages to some extent.
The record has beautiful moments, a very astute premise and a credible devotion, that – if it has failed on one hand for the lack of audacity, on the other, certainly has expressed an interesting degree of extremely delicate authenticity – reveals a sophisticated potential that is obviously promising, with a lot to aggregate in the context of alternative instrumental music in future releases.
Wagner
