There sheer amount of time that Amberfern gives the different tracks on Quiescence is intriguing; with a number of the album’s cuts clocking in at the six or seven minute mark, one wonders before the CD begins whether listeners’ interests can be sated. It may take a few minutes of the album’s first track, “Misty Harbor”, but listeners will rapidly understand the unique and mature compositions as they truly are.
During the aforementioned Misty Harbor, a panoply of different styles and influences issue out. Nothing in the way of vocals are needed; there is a deep and detailed sound that is cultivated through Misty Harbor, which in turn keeps things fresh and new for Magharibi, the album’s second track. While there are some currents established during Magharibi that both touch upon and build off of the sound first crafted during Misty Harbor, each of Quiescence’s next ten tracks provide listeners with a unquenchable vitality.
Lights on Water is a sea change for Quiescence, as the Native American-tinged compositions that open up the track gradually give ground to an electronic-meets-woodwind sound. Taking a wider look, one will be able to tell that Amberfern creates a composition that is at least as varied as the human experience. Quiescence ends just as strong as it begins, with a triumvirate of tracks (Clear Skies, Ayuba Aye, and Art of Serenity) that act as a perfect ending for the album. More so, I feel that these tracks provide listeners with a few hints to what Amberfern will wish to establish with any further releases or recordings. Check Quiescence out today; I believe the album expands upon what listeners should expect from instrumental and world music.
Top Tracks: Misty Harbor, Lights on Water
Amberfern – Quiescence: A World at Peace (CD) / 2011 Real Music / 11 Tracks / http://www.realmusic.com