Genre/Influences: Dark-ambient, cinematographic. Background/Info: After last year’s debut album “Winter Restlessness” Brazilian artist Mount Shrine…
Genre/Influences:
Dark-ambient,
cinematographic.
Background/Info:
After last year’s debut
album “Winter Restlessness” Brazilian artist Mount Shrine is back on track
unleashing this new work, which has been introduced by the artist as ‘inspired
by old jungle/hardcore tunes, pirate radios and ‘urban longing’, while shaping
up the repetitive style of ambient drone’.
Content:
The new tracks perfectly
match with the content of the debut album. It’s a dark-cinematographic voyage
made by extended, wafting sound waves and field recordings. The work reveals an
intimate atmosphere, which is maybe more explicit ain this album. The last
track entitled “Empty Slopes” is more elaborated accentuating the visual
strength of the composition.
+ + + :
I again can’t say Mount
Shrine is taking me by surprise, but I like the intimate sensation created by
the work. The composition has something relaxing and yet mysterious sometimes
resulting in tormenting passages. “Empty Slopes” sounds as the ultimate piece
from this work, but I also have to mention “Held Breeze”. Some of the field
recordings don’t really miss their impact to reinforce the anguishing mood
hanging over the work.
– – – :
This album is pleasant
and an easy listening cinematographic experience, but it doesn’t bring anything
new. Some passages even are a little bit monotone. I begin to think there are
maybe a bit too many similar projects signed to Cryo Chamber, but at the other
hand this kind of music and influences also are the label’s trademarks.
Conclusion:
“Ghosts Of Broken
Pavement” appears to be a relaxing sonic walk throughout mysterious, imaginary
stories.
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.