What I wholly love about this piece is how it takes its time setting the scene. I feel like I'm listening to the whole picture, not only the details, but also the atmosphere and the emotion. This is mainly due to the sections, which I could hear being expanded into their own tracks like a mini EP of sorts.
In the first section, the more ambient sounds integrate with the acoustic sounds seamlessly. I enjoyed the gradual buildup with the additions of more sounds subtly entering until the very end where the tension in that buildup finally becomes apparent. The chord choices in the second section are beautifully spaced out and the silence between the chords allows for one to linger on the emotional impact, but it is interesting that the silence between these chords seems to get shorter as that section progresses.
One minor nitpick I have is with the transition between the "Shipyard Walk" and "Empty Shells" sections. The strings not fading to silence was a good choice in preventing the piece from sounding like two different tracks, but they slightly duck between 2:31 and 2:32 in a place that would have felt more natural remaining at that same volume when the new string section enters.
I love how the third section flows, and all those strings working together in harmony just work so well in capturing the emptiness and sadness of a landscape. When the harp comes in at the fourth section, it really gives me KOLM vibes - just that right balance of hope and melancholy. The final section, bringing things back to a more ambient sense, quieting down...just brilliant.
Overall, I love how the piece takes its time with setting the mood with its strings, laying out the parts in a beautiful, flowing manner. I think there’s a beauty among the empty, desolate sadness, kind of like empty structures that get taken over with passing time. It makes me think: is nature trying to win its way back?
nyxl 
![Mind Paradise [Purplerized]](https://aicon.ngfiles.com/1381/1381808_medium.webp?f1733695308)
