The sound is slightly more natural and also a bit more laid back, packing a punch but allowing the softer sounds and frequencies to shine through effortlessly. They can be mostly described as djenty riffs, though unlike the trademark approach to djent, they aren’t quite as electronic, digital and cut through. The heavy parts are consistent throughout the album, though they do not in any way dominate the sound. He really has an ear for detail and delivers his parts to the finest level of detail, allowing for very accurate expression of many different emotions, most of them positive and optimistic. They usually sound very light, swift and gentle. There are a lot of clean guitar parts, often setting the undertone for the songs. When it comes to the guitar parts, well, he’s an absolute genius and also a very technical player. His music is a very well-thought-out balance of heavier and more relaxed sounds that keep going up and down, creating a real treat for the senses. Plini’s compositional style is really one of a kind, bending and combining genres and I would say it’s also quite experimental, though unlike many experimental approaches, it actually works well and serves a musical purpose. And his latest effort “ Impulse Voices” might be his strongest offering yet. While you could try to label his sound with a few genre-tags like djent, jazz or prog metal, I feel that the Australian maestro continues to elude any genres or categories, keeping his sound fresh, unique and as forward-thinking as it gets. And to this day, he remains one of my favourite artists when it comes to instrumental music. Lini was one of the first musicians I encountered while discovering the more modern prog sounds in the territory of djent, core and avant-garde.
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