KWOON

"Leviathan" opens with expansive, explosive, and invasive post-rock; strong and heavy with a destructive drum pad. "King of Sea" offers an aquatic journey, an airy and ambient symbiosis reminiscent of the band's archaic early days. Jazzy piano and drums create an intimate, rising track, like a gentle, rogue wave. "White Angels" has an ambient crescendo with its solemn ascent to the Heavens. Warm choirs, pounding drums, and crystalline piano, reverberating, emphatic, and overwhelming. "Life" with cello, a nostalgic, Floyd-esque tune and its children's choirs, captivating with the final melancholic violin reinforcing the atmosphere. "Blackstar" is more intimate with its latent piano; spatial sounds to soar high and never return; with a final vibration worthy of a movie soundtrack à la "Interstellar." "Last Paradise" with its Kwoon-esque rise, metronomic percussion over a captivating sound of an apocalyptic world.

"Jayne" with its very Pendragon-esque, Floyd-esque title and prominent vocals; the killer melody, fitting the story of a Wild West in decline. The memorable rise of a showcase concert with chills from the dreamlike side it emanates. "Wolves" stands out for its Daft Punk-esque electro, a soundtrack to "Tron" with melancholic strings reinforcing the irremediably sad air. "Youth" with its warm, catchy title, most closely resembling the classic Sigur Rós universe for its relentless monolithic sound. A long and slow post-prog rise. "Fisherman" in the same framework, the same vein, the same post wave with more vocals. "Nestadio" for the long, haunting title, a worthy representation of what post can still be today: simple, dreamlike, hypnotic, easy, captivating, expansive like the Universe; long, fluid, perfect with the dark outro. "Keep on Dreaming" for the final flight with strings, choirs, percussion and typical post guitar. The captivating sound oozing emotion.

"Intro" is just that, a short piece that opens with atmosphere as the piano joins in followed by synths and faint vocals. It builds late before ending in a spacey manner. "I Lived On The Moon" opens with picked guitar and faint vocals, in fact it's difficult to make out what he's singing. A fuller sound before 2 minutes as the vocals stop and sounds slowly swirl. Vocals are back. This has a very relaxed sound throughout. "Blue Melody" is just as the title suggest, very melancholic with picked guitar, atmosphere and distant vocals. Vocals stop before 2 1/2 minutes and they won't return. It then kicks in hard before 4 1/2 minutes to dramatic affects but it ends softly. "The Beast" opens with what sounds like faint organ that slowly pulsates and then we get some brief vocal expressions around 3 minutes then picked guitar after 4 minutes. This is a tough song to sit through, it's so minimalistic.

"Eternal Jellyfish Ballet" features gently picked guitar and not much else which makes this a longer listen than the previous tune. But then at 4 minutes it kicks into a more powerful sound. Still not a fan of this one. "Last Shadow" has some energy to it with distorted guitars leading the way throughout. "Tinkleh" has these faint vocals joining the picked guitar rather quickly. Drums 1 1/2 minutes in as it builds some. "Tinkleh Skofa" has almost an orchestral sound to it with a pulsating beat helping out. "The Door" features vocals and a relaxed sound that sort of drone together which I'm not into. "Kwoon" starts out with intricate and pastoral guitar along with atmosphere. The latter turns more powerful before 1 1/2 minutes and it's all louder a minute later including some Post-Rock styled guitar.

Some rate this very highly as one of those Post-Rock must-haves but for my tastes it does little for me overall. I'm glad I checked it out though.