The River is my debut album —an amalgam of subtle soundscapes, serene piano passages and captivating electronic elements. The title speaks of movement in perspective; millimeter by millimeter, the album crawls toward sublimity containing many timbres: classical, neoclassical, minimal, ambient, electronic, even a hint of pop in it’s natural progressions. It is characterized by slow-moving textures nestled between upbeat, polyrhythmically-driven tracks.
There’s a consistency to the collection that butters over any potentially jagged edges: timbres are similar, and the pace is sedate from start to finish. This being said, there’s still a standout track, “The white sound of the waterfall”, which bursts into bloom midway, then slowly disintegrates, providing a microcosm of the set as a whole.
While ultra-minimal music is always in danger of not carrying any weight, or not being considered music for that matter, inalbis manages to keep that delicate balance that makes his work pleasant to the ears. Along with the piano sounds, which are prevalent in the majority of the album, inalbis utilizes strings, which add to the nocturnal, melancholic atmosphere the album attempts to build.
With a sedate pace from start to finish, the album begins with a bed of soft piano and strings, to then give more protagonism to the piano as a solo instrument in the subsequent tracks, combined with airy strings oriented tracks. Throughout the album you can hear vivid influences from classical composers, like Chopin or Beethoven, mixed with more contemporary artists ranging from Sigur Rós, Arvo Pärt or Radiohead.While profound music may scare some potential listeners who avoid anything described as “sad” or “melancholic” like the plague, I should make clear that The River is a truly complete work, a story with a beginning, a middle and an end, and like all good stories, it leaves you with a sense of joy, the joy of knowing you have just experienced something unique and beautiful.