electronic
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Obsolete Woodland is a twenty two tracks album released in May 2 by English electronic pioneer Rob Adams, best known by his artistic nom de plume Crest Of The Syndicate. An amazingly talented and prolific musician, Crest Of The Syndicate’s music is characterized by an amplitude of sounds that diversifies the interior beauty of the songs by internalizing the boundaries of rhythms, constraining multiple layers of harmonies in constant nuances that never downplays the apparent calmness that usually revolves around the vicinity of the core of his music.
With a very mature and pulsating style difficult to categorize, the creativity in Crest Of The Syndicate’s case is the headstone of all ambivalences: surpassing boundaries, delineating new styles of unusual framework and always capturing a new layout of highly amplified sonorous cosmogonies, the overachieving stature of Rob Adams’ music takes part in the objective nature of an unbound line of work, which would be classified as a never ending class into experimental lessons and daring boldness into musical creation.
With some avant-garde elements that makes Crest Of The Syndicate’s music quite unique, the audience for such a narrowly fundamental style of music is undoubtedly very clear for the artist, being unfortunately restrict, which makes Rob Adams’ music an exclusive underground act, that paradoxically has at the forefront of his musical components severally unrestrained elements. With this in mind, it is possible to delineate in the atmosphere of his creative habits an almost exclusive horizon of possibilities, that plays alongside his oceanic devices of effervescent harmonies a reluctantly renovating landscape, that never excludes the protuberant ideas that generates thunderstorms in the eventful evening of the eternity that seeks abundant streams of ideas in the deranged space of opportunities that do exist, in the vast, contiguous and sonorous universe of never ending musical possibilities.
All in all, Obsolete Woodland is a very interesting album. Exceedingly diversified, with songs that resemble video game soundtracks, colorful fragments of inexistent sorrows, and empirical sardonic roads to nowhere, what we have here is an intriguing work of art meticulously detailed in the impersonating tone of its merits, while at the same time exceedingly lucid in his almost mathematical experimental elements, that never ceases for too long his overachieving questions of sensibility, humanity and feeling, throughout this mesmerizing sonorous journey of densely fractal beauty of implausible demise.
Nevertheless, despite being a very good album, with a highly impressive production quality, Crest Of The Syndicate overtly inflamed, experimental and minimalist nature means that a work of this category is aimed at a very specific audience, otherwise it would be exceedingly misunderstood. Regardless of these considerations, Obsolete Woodland is a terrific album, that has everything to please and satisfy its audience, in the best way possible. Rob Adams is a highly intelligent, inventive and original musician, with a great deal of talent that will allow him to continue on his way to explore beautiful sonorous compositions, to keep pleasing and surprising us all, as long as he makes music.
Wagner
With a very mature and pulsating style difficult to categorize, the creativity in Crest Of The Syndicate’s case is the headstone of all ambivalences: surpassing boundaries, delineating new styles of unusual framework and always capturing a new layout of highly amplified sonorous cosmogonies, the overachieving stature of Rob Adams’ music takes part in the objective nature of an unbound line of work, which would be classified as a never ending class into experimental lessons and daring boldness into musical creation.
With some avant-garde elements that makes Crest Of The Syndicate’s music quite unique, the audience for such a narrowly fundamental style of music is undoubtedly very clear for the artist, being unfortunately restrict, which makes Rob Adams’ music an exclusive underground act, that paradoxically has at the forefront of his musical components severally unrestrained elements. With this in mind, it is possible to delineate in the atmosphere of his creative habits an almost exclusive horizon of possibilities, that plays alongside his oceanic devices of effervescent harmonies a reluctantly renovating landscape, that never excludes the protuberant ideas that generates thunderstorms in the eventful evening of the eternity that seeks abundant streams of ideas in the deranged space of opportunities that do exist, in the vast, contiguous and sonorous universe of never ending musical possibilities.
All in all, Obsolete Woodland is a very interesting album. Exceedingly diversified, with songs that resemble video game soundtracks, colorful fragments of inexistent sorrows, and empirical sardonic roads to nowhere, what we have here is an intriguing work of art meticulously detailed in the impersonating tone of its merits, while at the same time exceedingly lucid in his almost mathematical experimental elements, that never ceases for too long his overachieving questions of sensibility, humanity and feeling, throughout this mesmerizing sonorous journey of densely fractal beauty of implausible demise.
Nevertheless, despite being a very good album, with a highly impressive production quality, Crest Of The Syndicate overtly inflamed, experimental and minimalist nature means that a work of this category is aimed at a very specific audience, otherwise it would be exceedingly misunderstood. Regardless of these considerations, Obsolete Woodland is a terrific album, that has everything to please and satisfy its audience, in the best way possible. Rob Adams is a highly intelligent, inventive and original musician, with a great deal of talent that will allow him to continue on his way to explore beautiful sonorous compositions, to keep pleasing and surprising us all, as long as he makes music.
Wagner