Nevertheless, there are distinct elements, as well as intriguing passages, in some tracks along the way. With minimalist and neoclassical tendencies, Arisen has charming peculiarities, and the sensational sonorous dilapidations that ostensibly arise in the outer limits of the conclusively splendid exterior layers of the songs reveal, quite surprisingly, a modest, but sagacious level of audacity, originality and creativity, well-worked and majorly conceived in the expansive fields of rhythmic dissonances discreetly dispersed throughout the album.
Although Arisen can’t be qualified as a majestic record – and you will hardly be surprised while listening to it – this album has, indeed, several qualities. The hazard, dilacerating and meticulous guitar lines undoubtedly are the main force behind the work, and create all the major elements that consecrate the overall musical atmosphere. Taking that away, you don’t have too much components to appreciate on the album, although some harmonies are fulfilled by a lonely, restless, reflexive and poetic appeal. Evidently, if you like slow, melodic, melancholic guitar driven rock’n’roll with avant-garde elements, then Arisen is an album that you should listen.
As far as my personal evaluation goes, Arisen is a good album, but is incapable of going beyond that. Too much accommodated in a common concept, with an ostensibly exacerbated uniformity, with little rhythmic variations, the overall sound, in the end, reclaims an ordinary and inefficient final product, that will probably appeal more to guitar players and guitar students in general.