Captives Of The Wine Dark Sea é o terceiro álbum da Discipline em um período de 20 anos, um feito que, embora esparso, não diminui o impacto dos discos anteriores, que foram incrivelmente bem-recebidos. Aqui, embora a banda não alcance o mesmo brilho e sofisticação dos seus predecessores, ainda entrega um bom material, com o grupo continuando a explorar e desenvolver seu som de forma eficaz.
Uma das características marcantes deste trabalho é a sua capacidade de contar histórias emocionais e excitantes, muitas vezes impregnadas de melancolia, mas também repletas de positivismo e brilho. As influências de bandas como Van der Graaf Generator e King Crimson são evidentes, mas a banda utiliza essas referências apenas como pontos de partida, mantendo uma identidade própria em sua música.
O álbum abre com “The Body Yearns”, uma faixa de nove minutos que exemplifica o domínio da banda sobre as composições longas e complexas. Com pianos e vocais liderados por Matthew Parmenter, a música passa por uma ótima mudança de ritmo em seu núcleo, introduzindo uma atmosfera quase sinistra antes de retornar à melodia original. “Life Imitates Art" traz um território familiar para os fãs de Van der Graaf Generator, com teclados enérgicos, guitarras marcantes e um coro que cativa desde o primeiro momento. É uma canção que mostra a habilidade da banda em conjugar complexidade com acessibilidade. “S” é uma faixa que permite à banda explorar seu lado mais progressivo, inspirando-se em peças clássicas com teclados dominantes e um contraponto de guitarra que remete ao estilo crimsoniano. A tensão é construída cuidadosamente antes de a música se transformar em algo mais perturbador e intenso.
“Love Songs” oferece um contraste, sendo quase uma anti-canção de amor, com Matthew Parmenter expressando um desejo de isolamento, enquanto a música se desenrola com influências que remetem aos Beatles. É uma faixa de rock mais direta, mas ainda assim, entregando melodias cativantes e arranjos bem trabalhados. “Here There Is No Soul” começa com uma sensação de rock de arena, mas à medida que avança, a música toma um rumo mais progressivo, com guitarras e órgãos assumindo o comando e transformando a faixa em algo mais introspectivo e complexo.
“The Road Game” é um instrumental que gruda facilmente na cabeça, mostrando o lado mais progressivo da banda e funcionando como um prelúdio perfeito para o épico que encerra o álbum. “Burn The Fire Upon The Rocks”, com seus quatorze minutos e meio, é a peça central do álbum. Composta por sete movimentos, a faixa flui de maneira coesa e com transições suaves entre as seções. Os vocais de Matthew são poderosos e arrebatadores, enquanto a guitarra de Chris Herin se destaca em um duelo com os teclados, enquanto são acompanhados por uma seção rítmica que respondem às mudanças de ritmo com maestria.
A integração de Chris Herin na banda foi bastante acertada, considerando que Jon Preston Bouda, o guitarrista anterior, desempenhava um papel fundamental na sonoridade do grupo. Captives Of The Wine Dark Sea é um exemplo sólido de música progressiva moderna, que embora possa não alcançar as alturas dos álbuns anteriores, ainda é uma adição valiosa para se ouvir de forma despretensiosa. Então, não espere muito e curta bastante o que lhe for ofertado.
================================Captives Of The Wine Dark Sea is Discipline's third album in a span of 20 years, a rare feat that, despite its infrequency, does not diminish the impact of their previous, critically acclaimed records. While this album may not reach the same level of brilliance and sophistication as its predecessors, it still delivers solid material, with the band continuing to explore and develop their sound effectively.
One of the standout features of this album is its ability to tell emotional and thrilling stories, often infused with melancholy yet also brimming with positivity and brilliance. The influences of bands like Van der Graaf Generator and King Crimson are evident, but Discipline uses these references merely as a starting point, maintaining their own distinct identity in their music.
The album opens with "The Body Yearns," a nine-minute track that exemplifies the band's mastery over long, complex compositions. With pianos and vocals led by Matthew Parmenter, the song undergoes a fantastic shift in tempo at its core, introducing an almost sinister atmosphere before returning to its original melody. "Life Imitates Art" brings familiar territory to fans of Van der Graaf Generator, featuring energetic keyboards, striking guitars, and a chorus that captivates from the very first moment. It's a song that showcases the band's ability to combine complexity with accessibility. "S" is a track that allows the band to explore their more progressive side, drawing inspiration from classical pieces with dominant keyboards and a guitar counterpoint reminiscent of the Crimsonian style. The tension is carefully built before the music morphs into something more disturbing and intense.
"Love Songs" offers a contrast, almost functioning as an anti-love song, with Matthew Parmenter expressing a desire for isolation as the music unfolds with influences reminiscent of the Beatles. It's a more straightforward rock track, yet it still delivers catchy melodies and well-crafted arrangements. "Here There Is No Soul" begins with an arena rock feel, but as it progresses, the song takes a more progressive turn, with guitars and organs taking command and transforming the track into something more introspective and complex.
"The Road Game" is an instrumental that easily sticks in the mind, showcasing the band's more progressive side and serving as a perfect prelude to the epic album closer. "Burn The Fire Upon The Rocks," clocking in at fourteen and a half minutes, is the centerpiece of the album. Composed of seven movements, the track flows cohesively with smooth transitions between sections. Matthew's vocals are powerful and captivating, while Chris Herin's guitar shines in a duel with the keyboards, supported by a rhythm section that expertly responds to the shifting tempos.
The integration of Chris Herin into the band has been a smart move, considering that previous guitarist Jon Preston Bouda played a crucial role in shaping the band's sound. Captives Of The Wine Dark Sea is a solid example of modern progressive music that, while it may not reach the heights of the previous albums, is still a valuable addition, perfect for a casual listen. So, don't expect too much and enjoy what it has to offer.
NOTA: 7/10
Tracks Listing
1. The Body Yearns (9:24)
2. Life Imitates Art (4:18)
3. S (4:11)
4. Love Songs (3:42)
5. Here There Is No Soul (3:20)
6. The Roaring Game (6:10)
7. Burn the Fire upon the Rocks (14:30)
Ouça, "Burn the Fire upon the Rocks"
Captives Of The Wine Dark Sea is Discipline's third album in a span of 20 years, a rare feat that, despite its infrequency, does not diminish the impact of their previous, critically acclaimed records. While this album may not reach the same level of brilliance and sophistication as its predecessors, it still delivers solid material, with the band continuing to explore and develop their sound effectively.
One of the standout features of this album is its ability to tell emotional and thrilling stories, often infused with melancholy yet also brimming with positivity and brilliance. The influences of bands like Van der Graaf Generator and King Crimson are evident, but Discipline uses these references merely as a starting point, maintaining their own distinct identity in their music.
The album opens with "The Body Yearns," a nine-minute track that exemplifies the band's mastery over long, complex compositions. With pianos and vocals led by Matthew Parmenter, the song undergoes a fantastic shift in tempo at its core, introducing an almost sinister atmosphere before returning to its original melody. "Life Imitates Art" brings familiar territory to fans of Van der Graaf Generator, featuring energetic keyboards, striking guitars, and a chorus that captivates from the very first moment. It's a song that showcases the band's ability to combine complexity with accessibility. "S" is a track that allows the band to explore their more progressive side, drawing inspiration from classical pieces with dominant keyboards and a guitar counterpoint reminiscent of the Crimsonian style. The tension is carefully built before the music morphs into something more disturbing and intense.
"Love Songs" offers a contrast, almost functioning as an anti-love song, with Matthew Parmenter expressing a desire for isolation as the music unfolds with influences reminiscent of the Beatles. It's a more straightforward rock track, yet it still delivers catchy melodies and well-crafted arrangements. "Here There Is No Soul" begins with an arena rock feel, but as it progresses, the song takes a more progressive turn, with guitars and organs taking command and transforming the track into something more introspective and complex.
"The Road Game" is an instrumental that easily sticks in the mind, showcasing the band's more progressive side and serving as a perfect prelude to the epic album closer. "Burn The Fire Upon The Rocks," clocking in at fourteen and a half minutes, is the centerpiece of the album. Composed of seven movements, the track flows cohesively with smooth transitions between sections. Matthew's vocals are powerful and captivating, while Chris Herin's guitar shines in a duel with the keyboards, supported by a rhythm section that expertly responds to the shifting tempos.
The integration of Chris Herin into the band has been a smart move, considering that previous guitarist Jon Preston Bouda played a crucial role in shaping the band's sound. Captives Of The Wine Dark Sea is a solid example of modern progressive music that, while it may not reach the heights of the previous albums, is still a valuable addition, perfect for a casual listen. So, don't expect too much and enjoy what it has to offer.
NOTA: 7/10
Tracks Listing
1. The Body Yearns (9:24)
2. Life Imitates Art (4:18)
3. S (4:11)
4. Love Songs (3:42)
5. Here There Is No Soul (3:20)
6. The Roaring Game (6:10)
7. Burn the Fire upon the Rocks (14:30)
Ouça, "Burn the Fire upon the Rocks"
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