Translated from Portuguese by Google Translate. Read the original <a title="Railway Journey" href="http://railwayjourney.net/2014/07/19/sp21/" target="_blank">here</a>.

"A few years ago while riding a 'mixtape' essentially to a draft environmental community, I was surprised with some lethargic and sedatives minutes of a track titled " ... And to the Dust We Shall Return "with a video - which can be seen here - registering a fire in a room that starts subtly contained in flames but that slowly and troubled, take over the room, in what could poetically symbolize our evolution here on Earth, inevitably our future that physical matter or simply have the denotation of how we can not and must not fight against time, which acts slowly upon us. But as important as the video, the song was made ​​by the American deliberately discreet and reclusive Drew Sullivan, the creator of the act Slow Dancing Society, which testifies inspirations as Brian Eno and Pink Floyd , and refers contemporaneities like Hammock or Explosions In The Sky , but with more electronic touched instinct and progressive rock interspersed. Although Drew has released about five studio albums over a career spanning eight years old, "The Cogent Sea" arrives with the promise of an artist on the rise, with the euphoria and anxiety difficult to contain, however very exclusive its small and unremarkable niche. The style of music Drew is the perfect companion for a morning alone, slowly and sublime, what to pay attention to the less intelligible details of her songs is like most of our treats. Ironically, " Come the Morning Light "instrumentally chronicles the dawn of the serene night, barren and silent, and the first movement with the sunrise, where homeopathic our space acquires dynamism in contrast to the lightness of the night. The same is replicated in peace " By Morning This Will All Seem Like a Dream , "a track with elements, rhythms and more accessible sections of the album, which means the awakening of a grounded numbness in the last seems to have been a dream, those minutes fogged in we do not realize if we are still asleep or awake. In " Cogency , "liquid fluids collide charmingly while the harmony progresses, without the slightest hurry to accentuate or mitigate, to the" Coming Back "and" Reach Out "to become more active than passive, but retaining the air tenuousness and making the sound thin layers then rest under our skin, an example very similar to the early work of the British Jon Hopkins , as " Opalescent "or" Contact Note , "with Drew but there is always the strategic insertion of" riffs "guitar showing how good he is and traditional American. In " The Captain! My Captain! "condensation and the settlement of sound remind us Ulrich Schnauss also in their first contacts with music, while " Heaven in the Backseat "retrieves the sky of a" new age "and" Rhythm of Love "as if he had agitantes kicked the beats of popular music. In " The Clearing , "the same sequential and growing process of walking in small steps make the motto" slow and steady "truer than ever, as in" Pull "amounts and" Suspension "descended, but without any abrupção or oscillation, keeping the cadence and righteousness. "The Cogent Sea" is the album to listen to when the only desire is to completely disconnect the universe in which it dwells for a moment and capture that moment just for us, when the unsolvable or unattainable become possible and the journey our inside endless and unscripted. It is keeping to the details that due to the shallowness and robustness of our daily lives, can go beyond our eyes. Here everything seemed small, can become great. And the big, as small as it looked great."

<strong>- <a title="Railway Journey" href="http://railwayjourney.net/2014/07/19/sp21/" target="_blank">Railway Journey</a></strong>