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Within mutedly droning swirls and atmospheric weather happenings, O'Brien's medievalistic croons unfurl prettily, awash in generous reverb as The Tides of March roll in. Muffled electrosymphonics flourish briefly in Wept I to be replaced by the celestial winds and shuffly rhythms of lovely Breathing in My Soul; womanly tones stir through dreamily drifting soundstreams, accented by occasional spiraling synth glints.
Beard's vocal contributions to short Forever Forlorn and the title track (8:01) are comparable to Brendan Perry's Dead Can Dance stylings, though a bit more blurred.
Electric guitar contortions are pumped up by tribalized e-drums and moody keyboarding in
Stay; an inviting groove ensues as do disconcertingly rippling effects in Kelly's song. A ringing guitar interlude, The Return (1:19) resonates into a haze which becomes the cool syncopated twangs of Distant, sweltering with atonal slurs.
Nocturnal powers dance throughout So True, lifted by its pattering drumbeats, lilting synthlines and ephemeral voicetrails. Diffused-though-dense ballad
The Promises seems unnecessary, though filmic piano-powered etude
Heal closes the disc with sweet, sweeping Enya-esque moods.
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