The musical aesthetic presented here mixes symphonic prog with gothic venues, medieval tendencies and poetic emotional singing. The music is based, frequently, on the Bass lines while other instruments seem to be constructed around that base to build up a somber yet fascinating sonic structure where flute makes occasional appearances when further artful “finishing” is needed. The vocals are done in an unusual low tone, imposing an aura of mystery and quietude to the music, like a poetic reading of surreal lyrics by a shy minstrel or a haunting ghost.
The band often sets its coordinates to more experimental grounds, which normally gets whimsically minimal around some more complex bass playing (never mind the apparent non sense). And let me recall your attention to the bass playing in this album, which is something that really deserves an acute ear from the listeners part.
While the drumming is very proggish, in structural terms (fusion, jazz and metal stylings are mixed), and the flute is tremendously “old-schooled” (provides vintage tapestries), the guitars float from prog to gothic and alternative grounds.
While no real pin-pointing relationship to other bands is unquestionably noticeable in Narr’s musicality, some hints of early Ange can be implied, especially on the slight medieval parts and in some theatrical vocalizations (though the vocals are always maintained in that aforementioned low-tone). Also, the dark atmospheres can sometimes guide the listener to dreamy (or nightmare) landscapes, in Iliketrains or early Fields of the Nephilim manner. When the band accelerates a bit (like in Au Bal des Larves), a softer Lazuli or Opram can be a (distant) option for comparison. But this band really plays a bizarre and original style of their own, and that must be credited!