The Appleseed Cast
The Fleeting Light Of Impermanence

The career of the band originating from Kansas can be succinctly described as an emotional flow of notes and thoughts. Over the years, its breadth has grown increasingly richer, constantly enhanced by new sensations. Initially following in the footsteps of Mineral and Texas is the Reason with their early works, they began to partially distance themselves over time, with the double and first remarkable “Low Level Vol. 1 & 2” by expanding their compositions and moving closer to post-rock. There is a soul behind the compositions, a rock that is now whispered, now tempestuous, and emotional. It is not easy to unite two galaxies with very different rules and dynamics, and therein lies their success. Although they haven’t quite burst through the big doors in Italy.

The penultimate studio album “Illumination Ritual” (2013) stands out as a brilliant summary of the project. More lean and compact than the equally good “Sagarmatha” (2009). Both are decisive milestones in their journey. It would be easy to talk about one of these two albums given what they have meant, but I feel it's right to use this space instead to talk about the most current work as we move towards the present.
Despite the notable prolificacy in the studio, the interval between the aforementioned and “The Fleeting Light of Impermanence” (a whole six years) is the longest gap to date between two works.

“Chaotic Waves” opens as the liquid and emotional song that The Appleseed Cast have managed to write well for twenty years now. It could only be placed at the opening, as their style is easily recognizable, like the liquid voice of Christopher Crisci.

The novelty is represented by a greater use of electronics, which finds its peak in the icy “Time the Destroyer.” The tension skillfully built by the synths in the first instrumental minutes is palpable and releases as the minutes unfold. It feels like being in the midst of a snowstorm. “Petition” is already calmer and I could well see it on “Two Conversations.”

In some central episodes, there is a bit of craft, with some episodes that slip away without leaving a lasting impression or warming thoroughly.

The finale again relies on bass, guitar, and drums that weave a pleasant tapestry that subtly infiltrates, before the masterful intervention of Crisci. “Last Words and Final Celebrations” and you sing at the top of your lungs. It is a grand farewell.

Once again, they have sought to try new paths. We will see if with the next release they will continue on this route or change the direction once more.