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Inmost Dens Of Emilie is an album by post rock group WhyOceans, from Macau, released on May 15. Fifty two minutes long, the record has six mostly long tracks: Another Wind, Transparent People, Inmost Dens Of Emilie – Part I, Farewell To My Urban Life, Chasing Palace and Inmost Dens Of Emilie – Part II. An interesting album, the product of a clever, imaginative and exceedingly skilled group that has a mostly perfect technical domain, Inmost Dens Of Emilie, with its subtle flavors of neoclassical music, undergo a powerful effect on the listener: with its warm, serene and peaceful melodies, the record elaborates an atmosphere of sincere and robust extravagance, upon which monumental harmonies, filled with the paradoxical consistence of an eccentric melancholy, expands its horizon of absolute infinity into the sensible universe of a soul, that loses its perspective on life on its own colossal sphere of sentiments.
With the gentle and delicate nuances of continually evolving harmonies, that are majorly solidified over the scope of brilliantly preordained musical virtues, Inmost Dens Of Emilie is a decent album that, unfortunately, it has the same amount of qualities as well as deficiencies. While the general harmonies are beautiful, and amazingly creative, there are little variations between rhythms, and the overall sound of the album is too emphatically uniform.
There is beauty, and a genuine sense of consistency within the songs. But unfortunately, since the tracks resemble too much one another, being most of them too long, it’s easy to get the impression that you are listening to just one very long track. Sometimes, in albums of the genre, this feature is not uncommon, and the songs are created with a similar atmosphere, to give a sense of continuity. But it becomes too easy for the listener to get tired of it, and eventually be stormed by a tedious sense of monotony while listening to the record.
In general, Inmost Dens Of Emilie is a decent and good album, but since there is too much similarity in between the songs, the almost plastered style, as well as the excessive uniformity within the harmonies, makes easier for the listener to get tired of it. Nonetheless, it’s a good record. It captures openly, with a sonorous expansive sensibility, the qualities of a delicate and inviolable atmosphere, that touches a serene universe hidden within our heart, and liberates it gracefully, with the windstorm of a world to come.
Wagner
With the gentle and delicate nuances of continually evolving harmonies, that are majorly solidified over the scope of brilliantly preordained musical virtues, Inmost Dens Of Emilie is a decent album that, unfortunately, it has the same amount of qualities as well as deficiencies. While the general harmonies are beautiful, and amazingly creative, there are little variations between rhythms, and the overall sound of the album is too emphatically uniform.
There is beauty, and a genuine sense of consistency within the songs. But unfortunately, since the tracks resemble too much one another, being most of them too long, it’s easy to get the impression that you are listening to just one very long track. Sometimes, in albums of the genre, this feature is not uncommon, and the songs are created with a similar atmosphere, to give a sense of continuity. But it becomes too easy for the listener to get tired of it, and eventually be stormed by a tedious sense of monotony while listening to the record.
In general, Inmost Dens Of Emilie is a decent and good album, but since there is too much similarity in between the songs, the almost plastered style, as well as the excessive uniformity within the harmonies, makes easier for the listener to get tired of it. Nonetheless, it’s a good record. It captures openly, with a sonorous expansive sensibility, the qualities of a delicate and inviolable atmosphere, that touches a serene universe hidden within our heart, and liberates it gracefully, with the windstorm of a world to come.
Wagner
