O que faz do IQ minha banda favorita do movimento neo-progressivo é a consistência com que eles abordam o tipo de música que pretendem tocar. Ao longo de uma rica discografia, a banda escorregou poucas vezes, o que é uma marca impressionante diante da qualidade de suas composições. Musicalmente, o grupo nunca tentou dar um salto arriscado para expandir seus horizontes; em vez disso, eles se mantiveram dentro de um território sólido e variando dentro de seus limites para criar composições maravilhosas. The Seventh House não é exceção a essa regra. As faixas possuem uma integridade estrutural impressionante, tanto individualmente quanto no contexto do álbum como um todo. Ouvir este disco é como acompanhar uma história, independentemente de ser conceitual ou não. A experiência de se deliciar com as músicas é um atestado da capacidade do IQ de criar e entregar melodias saborosas, sensíveis e memoráveis em quase todos os segmentos musicais.
"The Wrong Side Of Weird" abre o álbum com uma introdução atmosférica através dos teclados que logo evolui para uma linha mais rápida, cuja batida lembra um pouco "The Song Remains the Same" do Led Zeppelin. A faixa é rica em melodias e belos segmentos, com a guitarra preenchendo os espaços de forma típica da banda, sendo eficazmente usada nas transições de uma melodia para outra. Os vocais são executados com intensidade emocional, os teclados são excepcionais e a instrumentação, de maneira geral, é sólida. Em "Erosion" a banda novamente apresenta uma música de altíssimo nível. A introdução celestial é deslumbrante e a maneira como a faixa é construída é perfeita, transformando uma atmosfera etérea em algo mais pesado e contundente. Os vocais são profundamente emocionantes e complementam muito bem a canção. Embora não tenha o mesmo impacto da faixa de abertura, "Erosion" mantém o disco em alta qualidade.
A faixa-título, "The Seventh House", é a mais longa do álbum. Os primeiros três minutos são atmosféricos e acústicos, com um vocal suave até que a guitarra elétrica, baixo e bateria entram em cena, conferindo um peso maior à música. As melodias vocais são novamente memoráveis, e a habilidade da banda em compor longas faixas se destaca novamente. A faixa é repleta de linhas interessantes, com boas transições e arranjos. No entanto, uma passagem que lembra excessivamente "Apocalypse in 9/8" do épico "Supper's Ready" do Genesis pode por alguns instantes tirar a sensação de originalidade da música. "Zero Hour" tem uma parte introdutória que remete a "Turn It On Again" do Genesis. A faixa é suave e se desenvolve muito bem, com um belíssimo e calmante solo de saxofone no interlúdio. Os teclados são notáveis e os tons são profundos e bem selecionados. O destaque no entanto fica para o solo final de guitarra, certamente um dos três melhores da carreira de Mike Holmes. De certa forma, a comparação entre Holmes e Steve Hackett faz sentido, pois ambos servem suas respectivas bandas de maneira semelhante, como instrumentistas que tendem a se mesclar com a composição, mantendo-se discretos, mas entregando musicalidade sensacional quando têm seus momentos de destaque.
"Shooting Angel" começa com uma introdução espacial, atmosférica e introspectiva, marcada por teclados celestiais e uma guitarra influenciada por guitarristas como David Gilmour e Andy Latimer. Após essa belíssima introdução, a faixa ganha uma direção mais animada. Embora a bateria não seja tão cativante, a música possui bonitas e fluidas passagens de teclado, um baixo que remete ao Rush dos anos 80 (algo que aprecio bastante) e uma guitarra de liderança requintada. Um bom solo de saxofone encerra a faixa de forma eficaz. A última música, "Guiding Light", dá ao álbum um final grandioso. Melosa e edificante, a faixa tem uma introdução sensível, com linhas vocais e pianos maravilhosos, carregando uma sensação de música feita com a alma. A guitarra flui perfeitamente ao lado de ótimos trabalhos de sintetizadores, e a seção rítmica é sólida, especialmente em uma longa e enérgica passagem instrumental. A música então desacelera, tornando-se mais melódica, para que os vocais retornem e finalizem o álbum, destacando-se o trabalho de guitarra sobre uma sonoridade de puro rock sinfônico.
The Seventh House é essencial? Sem dúvida alguma. Embora o IQ não seja uma banda psicodélica, eles conseguem através de sua música criar uma sonoridade atmosférica que transporta o ouvinte para "outro mundo". Este é um álbum extremamente relevante para qualquer coleção de neo-progressivo, com sua musicalidade impressionante e emocional, além de muitas vezes reconfortante. Se você gosta de rock progressivo sinfônico e neo-progressivo e nunca ouviu este disco, o que está esperando para corrigir esse erro?
================================What makes IQ my favorite band within the neo-progressive movement is their consistency in delivering the kind of music they set out to create. Throughout their rich discography, the band has rarely faltered, a remarkable feat given the high quality of their compositions. Musically, the group has never ventured into risky territory to expand their horizons; instead, they have remained within solid ground, varying within their limits to craft wonderful compositions. The Seventh House is no exception to this rule. The tracks exhibit impressive structural integrity, both individually and as part of the album as a whole. Listening to this album feels like following a narrative, whether it’s conceptual or not. The experience of savoring the music is a testament to IQ's ability to craft and deliver delicious, sensitive, and memorable melodies in nearly every musical segment.
"The Wrong Side Of Weird" opens the album with an atmospheric introduction through the keyboards, which soon evolves into a faster tempo with a beat reminiscent of Led Zeppelin's "The Song Remains the Same." The track is rich in melodies and beautiful segments, with the guitar filling spaces in the band's typical manner, effectively used in transitions from one melody to another. The vocals are performed with emotional intensity, the keyboards are exceptional, and the overall instrumentation is solid. In "Erosion," the band again presents a high-level track. The celestial introduction is stunning, and the way the song is built is perfect, transforming an ethereal atmosphere into something heavier and more forceful. The vocals are deeply emotional and complement the song very well. Although it doesn’t have the same impact as the opening track, "Erosion" keeps the album at a high quality.
The title track, "The Seventh House," is the longest on the album. The first three minutes are atmospheric and acoustic, with a soft vocal until the electric guitar, bass, and drums come in, adding more weight to the music. The vocal melodies are memorable once again, and the band's skill in composing long tracks stands out. The track is full of interesting lines, with good transitions and arrangements. However, a passage that overly resembles Genesis's "Apocalypse in 9/8" from the epic "Supper's Ready" might momentarily detract from the song's sense of originality. "Zero Hour" features an introduction reminiscent of Genesis’s "Turn It On Again." The track is smooth and develops well, with a beautiful and calming saxophone solo in the interlude. The keyboards are notable, and the tones are deep and well-chosen. However, the highlight is the final guitar solo, undoubtedly one of Mike Holmes's top three performances. In a way, comparing Holmes to Steve Hackett makes sense, as both serve their respective bands similarly, blending into the composition while delivering sensational musicianship during their standout moments.
"Shooting Angel" begins with a spacey, atmospheric, and introspective introduction marked by celestial keyboards and guitar influenced by players like David Gilmour and Andy Latimer. After this beautiful introduction, the track takes on a more upbeat direction. Although the drumming is not as captivating, the song features beautiful and fluid keyboard passages, a bass reminiscent of 80s Rush (something I quite appreciate), and refined lead guitar work. A good saxophone solo effectively closes the track. The final song, "Guiding Light," gives the album a grand conclusion. Sweet and uplifting, the track has a sensitive introduction with wonderful vocal lines and pianos, conveying a sense of music made from the soul. The guitar flows perfectly alongside excellent synthesizer work, and the rhythm section is solid, especially in a long and energetic instrumental passage. The song then slows down, becoming more melodic, allowing the vocals to return and finish the album, highlighting the guitar work over a pure symphonic rock sound.
Is The Seventh House essential? Without a doubt. While IQ is not a psychedelic band, they manage through their music to create an atmospheric sound that transports the listener to another world. This is an extremely relevant album for any neo-progressive collection, with its impressive and emotional musicality, often comforting. If you enjoy symphonic and neo-progressive rock and haven’t heard this album yet, what are you waiting for to correct that mistake?
NOTA: 9/10
Tracks Listing
1. The Wrong Side of Weird (12:24)
2. Erosion (5:43)
3. The Seventh House (14:23)
4. Zero Hour (6:57)
5. Shooting Angels (7:24)
6. Guiding Light (9:58)
Ouça, "The Seventh House"
What makes IQ my favorite band within the neo-progressive movement is their consistency in delivering the kind of music they set out to create. Throughout their rich discography, the band has rarely faltered, a remarkable feat given the high quality of their compositions. Musically, the group has never ventured into risky territory to expand their horizons; instead, they have remained within solid ground, varying within their limits to craft wonderful compositions. The Seventh House is no exception to this rule. The tracks exhibit impressive structural integrity, both individually and as part of the album as a whole. Listening to this album feels like following a narrative, whether it’s conceptual or not. The experience of savoring the music is a testament to IQ's ability to craft and deliver delicious, sensitive, and memorable melodies in nearly every musical segment.
"The Wrong Side Of Weird" opens the album with an atmospheric introduction through the keyboards, which soon evolves into a faster tempo with a beat reminiscent of Led Zeppelin's "The Song Remains the Same." The track is rich in melodies and beautiful segments, with the guitar filling spaces in the band's typical manner, effectively used in transitions from one melody to another. The vocals are performed with emotional intensity, the keyboards are exceptional, and the overall instrumentation is solid. In "Erosion," the band again presents a high-level track. The celestial introduction is stunning, and the way the song is built is perfect, transforming an ethereal atmosphere into something heavier and more forceful. The vocals are deeply emotional and complement the song very well. Although it doesn’t have the same impact as the opening track, "Erosion" keeps the album at a high quality.
The title track, "The Seventh House," is the longest on the album. The first three minutes are atmospheric and acoustic, with a soft vocal until the electric guitar, bass, and drums come in, adding more weight to the music. The vocal melodies are memorable once again, and the band's skill in composing long tracks stands out. The track is full of interesting lines, with good transitions and arrangements. However, a passage that overly resembles Genesis's "Apocalypse in 9/8" from the epic "Supper's Ready" might momentarily detract from the song's sense of originality. "Zero Hour" features an introduction reminiscent of Genesis’s "Turn It On Again." The track is smooth and develops well, with a beautiful and calming saxophone solo in the interlude. The keyboards are notable, and the tones are deep and well-chosen. However, the highlight is the final guitar solo, undoubtedly one of Mike Holmes's top three performances. In a way, comparing Holmes to Steve Hackett makes sense, as both serve their respective bands similarly, blending into the composition while delivering sensational musicianship during their standout moments.
"Shooting Angel" begins with a spacey, atmospheric, and introspective introduction marked by celestial keyboards and guitar influenced by players like David Gilmour and Andy Latimer. After this beautiful introduction, the track takes on a more upbeat direction. Although the drumming is not as captivating, the song features beautiful and fluid keyboard passages, a bass reminiscent of 80s Rush (something I quite appreciate), and refined lead guitar work. A good saxophone solo effectively closes the track. The final song, "Guiding Light," gives the album a grand conclusion. Sweet and uplifting, the track has a sensitive introduction with wonderful vocal lines and pianos, conveying a sense of music made from the soul. The guitar flows perfectly alongside excellent synthesizer work, and the rhythm section is solid, especially in a long and energetic instrumental passage. The song then slows down, becoming more melodic, allowing the vocals to return and finish the album, highlighting the guitar work over a pure symphonic rock sound.
Is The Seventh House essential? Without a doubt. While IQ is not a psychedelic band, they manage through their music to create an atmospheric sound that transports the listener to another world. This is an extremely relevant album for any neo-progressive collection, with its impressive and emotional musicality, often comforting. If you enjoy symphonic and neo-progressive rock and haven’t heard this album yet, what are you waiting for to correct that mistake?
NOTA: 9/10
Tracks Listing
1. The Wrong Side of Weird (12:24)
2. Erosion (5:43)
3. The Seventh House (14:23)
4. Zero Hour (6:57)
5. Shooting Angels (7:24)
6. Guiding Light (9:58)
Nenhum comentário:
Postar um comentário