Lançar um sucessor para In the Court of the Crimson King apenas sete meses e cinco dias depois deve ter sido uma tarefa desafiadora para o King Crimson. Após uma estreia tão impressionante, parecia improvável que uma formação ligeiramente alterada e instável pudesse sustentar a promessa da banda. No entanto, In the Wake of Poseidon se revela um esforço muito bom, mesmo que não atinja o mesmo status icônico de seu predecessor.
Superficialmente, o álbum apresenta elementos familiares, como a sonoridade jazz-rock rápida com incursões de saxofone e um épico marcado pelo uso do mellotron. Embora não seja uma obra-prima do calibre de In the Court of the Crimson King, o disco merece seu lugar em qualquer coleção de rock progressivo.
O álbum é estruturado em torno de três segmentos que chamo de "os três seguimentos da paz". "Peace – A Beginning" abre o disco com um vocal distante de Greg Lake e uma breve adição de guitarra acústica no final. "Peace – A Theme" é uma peça instrumental tocada acusticamente por Robert Fripp, agradável, mas sem grandes destaques. "Peace – An End" fecha o álbum por meio de uma linha acústica minimalista e letras interessantes. Embora curtas, essas faixas servem como interlúdios que conectam os momentos mais marcantes do disco.
"Pictures of a City" inicia o álbum de forma poderosa, com baterias surpreendentes e linhas de guitarra cativantes. Os vocais intensos de Lake conduzem a faixa até um impressionante clímax jazzístico, onde o saxofone se junta à banda, criando uma experiência sonora fascinante. A música evolui para um trecho mais tranquilo, onde a bateria e o baixo assumem o protagonismo, com a guitarra de Fripp oferecendo pinceladas sutis até o retorno dos vocais.
"Cadence and Cascade" é uma das joias do álbum, com seu violão delicado e vocais suaves que se encaixam perfeitamente na atmosfera da música. A bateria é expressiva e o trabalho de flauta é encantador, demonstrando a sensibilidade musical da banda. A faixa-título, "In the Wake of Poseidon" é deslumbrante, sendo marcada por um Mellotron impressionante e alguns dos melhores vocais de Greg Lake. A guitarra de Fripp é magistral, enquanto a bateria, especialmente a caixa, confere um peso adequado à música A flauta contribui para criar uma atmosfera rica, mas é o Mellotron que se destaca, oferecendo acordes elevados e belos que transformam a faixa em uma obra de arte. "Cat Food" é o ponto alto das influências jazzísticas do álbum. O piano é desafiador e frenético, enquanto Greg canta com energia e intensidade. Peter Gilles produz algumas excelentes linhas de baixo e a guitarra de Fripp é tocada de forma precisa. O final da música enfatiza ainda mais o piano, complementado por batidas de prato e acordes de guitarra.
Ao escolher a melhor faixa do álbum, "The Devil's Triangle" surge como a escolha óbvia. Caótica e assombrosa, posso afirmar inclusive que é indiscutivelmente a música mais impressionante do disco. Começando de forma quase silenciosa, ela cresce com acordes de Mellotron e uma bateria hipnótica, criando uma atmosfera fantasmagórica e caótica. O piano dissonante e os sons de vento e relógio adicionam uma sensação de terror à faixa e que culmina em uma cacofonia de instrumentos que desafia a compreensão. Quando os breves acordes de guitarra acústica anunciam o fim, é como se o ouvinte fosse resgatado de uma experiência perturbadora, mas profundamente gratificante.
Embora o King Crimson tenha discos mais sofisticados e complexos, como In the Court of the Crimson King ou Larks' Tongues in Aspic, só a presença de "The Devil's Triangle" em In the Wake of Poseido o engrandece muito, afinal, não se trata do apenas o ápice do álbum, mas também uma das composições mais arrebatadoras entre todo o catálogo da banda.
================================Releasing a successor to In the Court of the Crimson King just seven months and five days later must have been a challenging task for King Crimson. After such an impressive debut, it seemed unlikely that a slightly altered and unstable lineup could sustain the band's promise. However, In the Wake of Poseidon proves to be a very good effort, even if it does not achieve the same iconic status as its predecessor.
On the surface, the album presents familiar elements, such as the fast jazz-rock sound with saxophone incursions and an epic marked by the use of the Mellotron. Although it is not a masterpiece on the level of In the Court of the Crimson King, the record deserves its place in any progressive rock collection.
The album is structured around three segments that I call "the three segments of peace." "Peace – A Beginning" opens the album with a distant vocal from Greg Lake and a brief addition of acoustic guitar at the end. "Peace – A Theme" is an instrumental piece played acoustically by Robert Fripp, pleasant but without major highlights. "Peace – An End" closes the album with a minimalist acoustic line and interesting lyrics. Although short, these tracks serve as interludes that connect the album's most striking moments.
"Pictures of a City" starts the album powerfully, with surprising drums and captivating guitar lines. Lake's intense vocals lead the track to an impressive jazzy climax, where the saxophone joins the band, creating a fascinating sonic experience. The music evolves into a quieter section, where the drums and bass take the lead, with Fripp's guitar offering subtle touches until the vocals return.
"Cadence and Cascade" is one of the album's gems, with its delicate guitar and soft vocals that perfectly fit the music's atmosphere. The drums are expressive, and the flute work is enchanting, demonstrating the band's musical sensitivity. The title track, "In the Wake of Poseidon," is stunning, marked by an impressive Mellotron and some of Greg Lake's best vocals. Fripp's guitar is masterful, while the drums, especially the snare, add the right weight to the music. The flute helps create a rich atmosphere, but it is the Mellotron that stands out, offering elevated and beautiful chords that transform the track into a work of art. "Cat Food" is the pinnacle of the album's jazz influences. The piano is challenging and frenetic, while Greg sings with energy and intensity. Peter Giles produces some excellent bass lines, and Fripp's guitar is played with precision. The song's ending further emphasizes the piano, complemented by cymbal hits and guitar chords.
When choosing the best track on the album, "The Devil's Triangle" emerges as the obvious choice. Chaotic and haunting, I can even say it is undeniably the most impressive song on the record. Starting almost silently, it grows with Mellotron chords and hypnotic drums, creating a ghostly and chaotic atmosphere. The dissonant piano and the sounds of wind and clock add a sense of terror to the track, culminating in a cacophony of instruments that defies comprehension. When the brief acoustic guitar chords signal the end, it feels as if the listener has been rescued from a disturbing but deeply rewarding experience.
Although King Crimson has more sophisticated and complex albums, such as In the Court of the Crimson King or Larks' Tongues in Aspic, the presence of "The Devil's Triangle" alone elevates In the Wake of Poseidon. After all, it is not only the album's pinnacle but also one of the most overwhelming compositions in the band's entire catalog.
NOTA: 8/10
Tracks Listing
1. Peace - A Beginning (0:49)
2. Pictures of a City (incl. 42nd at Treadmill) (8:03)
3. Cadence and Cascade (4:27)
4. In the Wake of Poseidon (incl. Libra's Theme) (7:56)
5. Peace - A Theme (1:15)
6. Cat Food (4:54)
7. The Devil's Triangle (11:39)
8. Peace - An End (1:53)
Ouça, "The Devil's Triangle"
Releasing a successor to In the Court of the Crimson King just seven months and five days later must have been a challenging task for King Crimson. After such an impressive debut, it seemed unlikely that a slightly altered and unstable lineup could sustain the band's promise. However, In the Wake of Poseidon proves to be a very good effort, even if it does not achieve the same iconic status as its predecessor.
On the surface, the album presents familiar elements, such as the fast jazz-rock sound with saxophone incursions and an epic marked by the use of the Mellotron. Although it is not a masterpiece on the level of In the Court of the Crimson King, the record deserves its place in any progressive rock collection.
The album is structured around three segments that I call "the three segments of peace." "Peace – A Beginning" opens the album with a distant vocal from Greg Lake and a brief addition of acoustic guitar at the end. "Peace – A Theme" is an instrumental piece played acoustically by Robert Fripp, pleasant but without major highlights. "Peace – An End" closes the album with a minimalist acoustic line and interesting lyrics. Although short, these tracks serve as interludes that connect the album's most striking moments.
"Pictures of a City" starts the album powerfully, with surprising drums and captivating guitar lines. Lake's intense vocals lead the track to an impressive jazzy climax, where the saxophone joins the band, creating a fascinating sonic experience. The music evolves into a quieter section, where the drums and bass take the lead, with Fripp's guitar offering subtle touches until the vocals return.
"Cadence and Cascade" is one of the album's gems, with its delicate guitar and soft vocals that perfectly fit the music's atmosphere. The drums are expressive, and the flute work is enchanting, demonstrating the band's musical sensitivity. The title track, "In the Wake of Poseidon," is stunning, marked by an impressive Mellotron and some of Greg Lake's best vocals. Fripp's guitar is masterful, while the drums, especially the snare, add the right weight to the music. The flute helps create a rich atmosphere, but it is the Mellotron that stands out, offering elevated and beautiful chords that transform the track into a work of art. "Cat Food" is the pinnacle of the album's jazz influences. The piano is challenging and frenetic, while Greg sings with energy and intensity. Peter Giles produces some excellent bass lines, and Fripp's guitar is played with precision. The song's ending further emphasizes the piano, complemented by cymbal hits and guitar chords.
When choosing the best track on the album, "The Devil's Triangle" emerges as the obvious choice. Chaotic and haunting, I can even say it is undeniably the most impressive song on the record. Starting almost silently, it grows with Mellotron chords and hypnotic drums, creating a ghostly and chaotic atmosphere. The dissonant piano and the sounds of wind and clock add a sense of terror to the track, culminating in a cacophony of instruments that defies comprehension. When the brief acoustic guitar chords signal the end, it feels as if the listener has been rescued from a disturbing but deeply rewarding experience.
Although King Crimson has more sophisticated and complex albums, such as In the Court of the Crimson King or Larks' Tongues in Aspic, the presence of "The Devil's Triangle" alone elevates In the Wake of Poseidon. After all, it is not only the album's pinnacle but also one of the most overwhelming compositions in the band's entire catalog.
NOTA: 8/10
Tracks Listing
1. Peace - A Beginning (0:49)
2. Pictures of a City (incl. 42nd at Treadmill) (8:03)
3. Cadence and Cascade (4:27)
4. In the Wake of Poseidon (incl. Libra's Theme) (7:56)
5. Peace - A Theme (1:15)
6. Cat Food (4:54)
7. The Devil's Triangle (11:39)
8. Peace - An End (1:53)
Ouça, "The Devil's Triangle"
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