Tracks
1.We Played Some Open Chords and Rejoiced, for the Earth Had Circled the Sun Yet Another Year6:19
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"A Winged Victory for the Sullen" is the cryptic as intriguing alias under which features a real dream team representative of recent intersections between neoclassical minimalism and hypnotic visions environmental eyes closed.
More than a collaborative project among so many it is the encounter between two of the most respected architects of piano melodies of recent years: Adam Wiltzie and Dustin O'Halloran.
By virtue of the musicians who take part, the eponymous debut of A Winged Victory For The Sullen can only rank among the most interesting experiments stylistic syncretism, intended to conjugation suspension kinematics storms captured by the strings and electronically filtered with those produced from austere piano cadences, made even more muffled backgrounds registration often derived from churches or abandoned places.
What results is a work profusely focused on loops and reverbs, puffs of misty melodies and little more than outlined, which together make up the strokes of a sound fresco intended to impalpable evocations rather than discounted suggestions too emotional.
Nevertheless, the pathos that animates three-quarters of an hour's duration of the album does not fail to express themselves in emotional dedication to Mark Linkous of the two parts of "Requiem For The Static King" and, in general, through subtleties perhaps not immediately evident but enhanced just by the tone in appearance and aloof academic compositions Wiltzie and O'Halloran.
As contradictory as it may seem, a large part of the seven pieces of "A Winged Victory For The Sullen" stand out more for their gaps and silences that for slender lines chamber newer, more for the moments of stasis that for incremental movements and so pricked by appear even posted.
Although this does not produce a substantial uniformity of the compositions - which range from strong chamber music instead of "Requiem For The Static King Part 1" to progressive svaporamenti of the long "A Symphony Pathetique", by the kindness of the flowery "Minuet For A Cheap Plan" to mists Nordic dell'immaginifica "Steep Hills of Vicodin Tears" - the set of the work is quite inert in its polished surface, treated with refinement but also with substantial coldness.
There is no doubt that the extreme formal rigor and executive was deliberately sought by his two chief architects, however the complex work differs very little from the sum of the expressions of the artists who have contributed to it, sinning in part of the momentum and that involvement can make it memorable for those who work to its formula is now well accustomed.
As often happens with similar records, much in its perception depends on how much the same formula could pose a new and therefore able to amaze; but for the most consumed travelers eyelid, for lovers of minimalism chamber and even for the die-hard lovers of emotional vapors sigurrosiani, "A Winged Victory For The Sullen" seriously runs the risk of being confined to the background brackets night, though not at all without its moments of pleasant and enveloping comfort.
More than a collaborative project among so many it is the encounter between two of the most respected architects of piano melodies of recent years: Adam Wiltzie and Dustin O'Halloran.
By virtue of the musicians who take part, the eponymous debut of A Winged Victory For The Sullen can only rank among the most interesting experiments stylistic syncretism, intended to conjugation suspension kinematics storms captured by the strings and electronically filtered with those produced from austere piano cadences, made even more muffled backgrounds registration often derived from churches or abandoned places.
What results is a work profusely focused on loops and reverbs, puffs of misty melodies and little more than outlined, which together make up the strokes of a sound fresco intended to impalpable evocations rather than discounted suggestions too emotional.
Nevertheless, the pathos that animates three-quarters of an hour's duration of the album does not fail to express themselves in emotional dedication to Mark Linkous of the two parts of "Requiem For The Static King" and, in general, through subtleties perhaps not immediately evident but enhanced just by the tone in appearance and aloof academic compositions Wiltzie and O'Halloran.
As contradictory as it may seem, a large part of the seven pieces of "A Winged Victory For The Sullen" stand out more for their gaps and silences that for slender lines chamber newer, more for the moments of stasis that for incremental movements and so pricked by appear even posted.
Although this does not produce a substantial uniformity of the compositions - which range from strong chamber music instead of "Requiem For The Static King Part 1" to progressive svaporamenti of the long "A Symphony Pathetique", by the kindness of the flowery "Minuet For A Cheap Plan" to mists Nordic dell'immaginifica "Steep Hills of Vicodin Tears" - the set of the work is quite inert in its polished surface, treated with refinement but also with substantial coldness.
There is no doubt that the extreme formal rigor and executive was deliberately sought by his two chief architects, however the complex work differs very little from the sum of the expressions of the artists who have contributed to it, sinning in part of the momentum and that involvement can make it memorable for those who work to its formula is now well accustomed.
As often happens with similar records, much in its perception depends on how much the same formula could pose a new and therefore able to amaze; but for the most consumed travelers eyelid, for lovers of minimalism chamber and even for the die-hard lovers of emotional vapors sigurrosiani, "A Winged Victory For The Sullen" seriously runs the risk of being confined to the background brackets night, though not at all without its moments of pleasant and enveloping comfort.