Welcome to the numinous, a world where all things are shaped by the fabric of dreams, where possibility is everything and change is the only semblance of normality. It is here that Sepia Dreamer make their home. They are an ever-evolving sonic matter, a faceless apparition with no allegiance to classification and no deliberate appeal.
Formed in 2003 by Jonas Wrenninge and Sam Brokenshaw, two geographically separated exper­imentalists, Sepia Dreamer began their fight for individuality with Portraits Of Forgotten Memories. Recorded at their respective home studios in Stockholm and Cardiff, their self-release would win positive feedback. The ambitious pair, however, vied with perfectionism to exceed their existing efforts. And so comes the duo's most ambitious project to-date: The Sublime, a tempestuously beautiful and orchestral instrumental album that effortlessly transcends genre-definition, arming it with a rare cross-appeal to metal and non-metal fans alike.
Wide notes beam across mindful arrangements like searing white light. Melancholic, tranquil passages warp into heavier dimensions and a myriad of instruments can be heard upon layers of interlocking sound. Accompanied by the musical percussion of guest drummer Leon Macey (Mithras, Candlelight Records), The Sublime is complex and highly musical, yet simple and atmospheric.
Conceptually. The Sublime deals with the terrible beauty of nature and pays homage to the oft-praised work of painter J.M.W. Turner, and his The Slave Ship painting in particular. Sepia Dreamer strove to emulate the incomprehensible and terrible forces of nature with The Sublime, and in doing so have captured the calm before and the storm itself in equal measures. This is essential listening.