ambient / post-rock
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All Is Empty And Silent is the most recent release by Sketchquiet, a project of Brazilian musician Mário Alencar. With nine songs, being them 2009, Remembrance, Never Leave Your Place, Drawings For Mary Hs, Dirty Island, Waterfall, Nausea Will Come, Empty + Silent and Flora Luna, what we have here is a very smooth, melancholic, reflexive and imposing atmosphere, generated by a thin layer of a very virtuous, diluted, disciplined and well restrained soft rock.
With an imperative calmness, beautiful melodies, and idyllic guitar lines, viciously exposed at the poetic heart of horizontal and delicate nuances, destitute of sonorous embraces, the lightness of his mordacity while playing seems to truthfully answer to a higher appeal, amazingly highlighted at the serenity of a cosmic sound unbound to an invisible existence. With marvelous melodies never constrained by solitary demands of sorrowful audacities, All Is Empty And Silent probably has, as its most lucid quality, a strongest guitar presence, marked by a vivid strength of sonorous precision and the urgent eagerness of pungent and percentile artistic expressions, with an impressive musical solidity, that predominates all the way throughout the record, in a hostile sound that exhilarates poetry in each and every note of its delicate and sober songs.
A very decent and cohesive work, that displays a coherent degree of musical proposition, this album also presents to its audience an interesting configuration of style, that, despite being constant and somewhat stable, is also restless and rebellious, revealing a remarkable contrast of behavioral solicitude in shape and form at the nucleus of its musical inception, albeit in a very discreet and sympathetic constriction.
With enchanting, very devised, lucid and well-constructed songs, All Is Empty And Silent really reevaluates in a modern shape and in a very singular basic outline the principles of soft and indie rock, as well as instrumental music mainly based on guitar. With a genuine touch of originality and passion, that passes over the cosmic sentences created by Mário in each and every note of his songs, this musician can perpetuate full universes of ethereal transcendental alignments at the dense fusion that comprehends the vividness of his creative processes, that eventually passes through his the fingers, on the verge of executing the sometimes impressionistic cords that made his music sound exactly the way it sounds.
All Is Empty And Silent, undoubtedly, is a very inventive and peculiar work, where creativity has no boundaries. A very intriguing and exponentially restless album, abundant with the characteristically detailed vividness that the style asks for all the time, but rarely finds in such a formidable and masterful proficiency.
Wagner
With an imperative calmness, beautiful melodies, and idyllic guitar lines, viciously exposed at the poetic heart of horizontal and delicate nuances, destitute of sonorous embraces, the lightness of his mordacity while playing seems to truthfully answer to a higher appeal, amazingly highlighted at the serenity of a cosmic sound unbound to an invisible existence. With marvelous melodies never constrained by solitary demands of sorrowful audacities, All Is Empty And Silent probably has, as its most lucid quality, a strongest guitar presence, marked by a vivid strength of sonorous precision and the urgent eagerness of pungent and percentile artistic expressions, with an impressive musical solidity, that predominates all the way throughout the record, in a hostile sound that exhilarates poetry in each and every note of its delicate and sober songs.
A very decent and cohesive work, that displays a coherent degree of musical proposition, this album also presents to its audience an interesting configuration of style, that, despite being constant and somewhat stable, is also restless and rebellious, revealing a remarkable contrast of behavioral solicitude in shape and form at the nucleus of its musical inception, albeit in a very discreet and sympathetic constriction.
With enchanting, very devised, lucid and well-constructed songs, All Is Empty And Silent really reevaluates in a modern shape and in a very singular basic outline the principles of soft and indie rock, as well as instrumental music mainly based on guitar. With a genuine touch of originality and passion, that passes over the cosmic sentences created by Mário in each and every note of his songs, this musician can perpetuate full universes of ethereal transcendental alignments at the dense fusion that comprehends the vividness of his creative processes, that eventually passes through his the fingers, on the verge of executing the sometimes impressionistic cords that made his music sound exactly the way it sounds.
All Is Empty And Silent, undoubtedly, is a very inventive and peculiar work, where creativity has no boundaries. A very intriguing and exponentially restless album, abundant with the characteristically detailed vividness that the style asks for all the time, but rarely finds in such a formidable and masterful proficiency.
Wagner
