Quando se trata de álbuns instrumentais, sei que muitos ouvintes tendem a não se sentir atraídos, pelo menos é o que percebo ao tentar recomendar esse tipo de trabalho. Confesso que às vezes consigo entender essa resistência, pois um álbum composto exclusivamente por faixas instrumentais pode facilmente soar repetitivo e enfadonho — especialmente para quem não está habituado ao gênero. Nesse caso, o disco pode parecer desprovido de coesão, como se fosse apenas uma coleção de músicas superficiais, sem direção clara, dando a impressão de que os músicos estão vagando sem saber de onde vieram ou para onde vão. No entanto, com There Are No Ordinary Moments, esse não é o caso. Apesar de sua natureza instrumental, oferece uma audição envolvente, mesmo para aqueles menos familiarizados com a música progressiva.
Este é o quinto álbum da Ovrfwrd, que permanece sólida em sua formação, trazendo novamente os mesmos integrantes dos quatro trabalhos anteriores: Mark Ilaug (guitarra), Chris Malmgren (teclado), Kyle Lund (baixo) e Richard Davenport (bateria). Desde o álbum de estreia, percebe-se que a banda tem se tornado cada vez mais entrosada, tocando com uma naturalidade que reflete o impacto instrumental e a sofisticação composicional que já se tornaram características do grupo. Há uma evidente democracia na forma como cada membro contribui com o som, resultando em um disco coeso e bem equilibrado.
Uma das marcas registradas da Ovrfwrd, presente também neste álbum, é a habilidade de transformar desenvolvimentos simples, como os encontrados no blues rock, em peças intricadas que rivalizam com as melhores jam bands. Ao longo de seus quase 70 minutos e que são distribuídos em 10 faixas, a banda explora uma rica tapeçaria de sons e texturas que vão do progressivo clássico ao jazz fusion, passando pela música psicodélica. Cada peça é robusta, mantendo o ouvinte engajado do início ao fim.
A faixa de abertura, “Red Blanket,” começa com uma forte marcação da seção rítmica e uma flauta delicadamente pontuada — executada no teclado. O que surpreende é a linha de trompete que surge logo em seguida, um toque inesperado e brilhante, embora não haja ninguém creditado no instrumento. Talvez seja mais uma intervenção do teclado, mas, de qualquer forma, a ideia ficou muito boa. A faixa tem uma forte tendência jazzística — especificamente jazz rock — com uma seção rítmica rica e cheia de nuances, além de guitarras que alternam entre o peso e a suavidade e teclados que criam uma melodia exuberante ao fundo.
“Eagle Plains” começa de forma etérea, criando uma atmosfera onírica que cativa pela sofisticação. O piano quase clássico, acompanhado por notas espaçadas de baixo e toques sutis de guitarra, prepara o terreno para que a bateria entre em cena e eleve a música a um novo patamar, tornando-a mais vigorosa. Linhas de guitarra bem elaboradas, solos incandescentes de sintetizadores e teclados sinfônicos, sustentados por uma seção rítmica sólida, fazem desta faixa um dos destaques do disco. “The Virtue of...” inicia de maneira sombria, com uma mistura de space rock atmosférico e post rock ambiental. A guitarra inflama a música ao longo de sua extensão, alternando com rajadas de órgão que remetem ao Jon Lord. Baixo e bateria novamente criam uma base pulsante, mantendo a tensão e o interesse do ouvinte.
“Flatlander” é a faixa mais pesada do álbum, flertando com o heavy metal. Aqui a banda entrega um instrumental mais direto, onde todos os instrumentos se unem para criar um ambiente distorcido e agressivo. A música não possui muita variação, então foi acertada a decisão de mantê-la curta, evitando que se prolongasse desnecessariamente. “Tramp Hollow” é outra música com pouca variação, o que pode causar uma leve frustração, já que a banda parece estar preparando o ouvinte para uma mudança de ritmo que nunca chega. No entanto, ainda assim, a faixa tem seus atrativos, com solos de guitarra vibrantes, linhas de baixo pulsantes, bateria sólida e teclados que preenchem bem todos os espaços, culminando em um solo de piano interessante no final.
“Notes of the Concubine” inicia com um violão que poderia muito bem ter saído de um disco de Steve Hackett devido à sua aura clássica. A música assume um tom psicodélico até que algumas notas mais enérgicas de piano anunciam uma mudança de direção, que se concretiza com a entrada dos demais instrumentos. Para aqueles familiarizados com o King Crimson, essa faixa ressoará como as composições mais abstratas e dissonantes da banda. Sombria e angustiante, a música também oferece momentos influenciados pelo jazz de vanguarda.
“Eyota,” com seus quase 13 minutos, é a peça mais longa do álbum. O título homenageia uma cidade de Minnesota, cujo nome deriva de um termo Sioux que significa “o maior.” Nada mais justo, afinal, trata-se do ápice do álbum em termos de composição. O piano abre a faixa, seguido por uma explosão da bateria que introduz elementos de zeuhl nos primeiros três minutos e meio, até que o piano solitário volta a guiar a música para uma direção mais acessível e menos experimental. No geral, é uma faixa que oscila entre momentos agressivos e serenos, mas sempre dentro de uma atmosfera sinistra, onde as teclas se destacam como o grande trunfo da peça.
“Chateau La Barre” é na minha opinião um ponto fraco do álbum, mas dura pouco mais de dois minutos. Um teclado eletrônico lidera a faixa que parece mais um interlúdio ligando a faixa anterior à próxima. No entanto, esse “gancho” não combina bem com nenhuma das duas, ficando deslocado tanto em relação as duas faixas quanto ao álbum como um todo. “Serpentine” começa com uma vibe que remete ao White Stripes, misturada com uma explosão sonora quase metálica. A faixa varia entre momentos pesados e outros mais suaves, com uma veia jazzística evidente, especialmente nos ataques de Hammond. “The Way” é a faixa final, excelente tanto para encerrar o álbum, quanto para finalizar os shows da banda. É uma ilustração perfeita de quatro músicos que trabalham quase como metrônomos humanos. Linhas de baixo que talvez sejam as melhores do álbum, solos fervorosos de guitarra e teclados atmosféricos, além de uma bateria exuberante, confeccionam um final de álbum que não poderia ser melhor. que verdadeiramente
Ao chegar ao final deste álbum de quase 70 minutos, percebi que apenas os pouco mais de dois minutos de “Chateau La Barre” que verdadeiramente não me agradaram. Isso me deu a certeza de que estava diante de uma grande banda que produziu mais um feito notável e que merece uma repercussão muito maior do que tem atualmente. There Are No Ordinary Moments é um disco com um nível incrível de musicalidade e cheio de variações, que mesmo explorando inúmeros caminhos e direções diferentes, consegue se manter coerente e cativante.
================================When it comes to instrumental albums, I know that many listeners tend not to be drawn in—at least, that's what I've noticed when trying to recommend this type of work. I admit that I can sometimes understand this resistance because an album composed exclusively of instrumental tracks can easily sound repetitive and tedious, especially for those unfamiliar with the genre. In this case, the album may seem devoid of cohesion, as if it were just a collection of superficial songs with no clear direction, giving the impression that the musicians are wandering without knowing where they came from or where they are going. However, with There Are No Ordinary Moments, that's not the case. Despite its instrumental nature, it offers an engaging listening experience, even for those less familiar with progressive music.
This is the fifth album by Ovrfwrd, who remain solid in their lineup, once again bringing the same members from the previous four works: Mark Ilaug (guitar), Chris Malmgren (keyboards), Kyle Lund (bass), and Richard Davenport (drums). Since the debut album, it's clear that the band has become increasingly cohesive, playing with a naturalness that reflects the instrumental impact and compositional sophistication that have already become the group's trademarks. There's an evident democracy in the way each member contributes to the sound, resulting in a cohesive and well-balanced album.
One of Ovrfwrd's trademarks, also present in this album, is the ability to turn simple developments, such as those found in blues rock, into intricate pieces that rival the best jam bands. Over its nearly 70 minutes, spread across 10 tracks, the band explores a rich tapestry of sounds and textures that range from classic progressive rock to jazz fusion, passing through psychedelic music. Each piece is robust, keeping the listener engaged from start to finish.
The opening track, "Red Blanket," begins with a strong rhythmic section and a delicately punctuated flute—played on the keyboard. What surprises is the trumpet line that emerges shortly afterward, an unexpected and brilliant touch, although no one is credited with the instrument. Perhaps it's another keyboard intervention, but either way, the idea turned out very well. The track has a strong jazzy tendency—specifically jazz rock—with a rich, nuanced rhythm section, guitars alternating between heaviness and softness, and keyboards creating an exuberant melody in the background.
"Eagle Plains" begins ethereally, creating a dreamy atmosphere that captivates with its sophistication. The almost classical piano, accompanied by spaced-out bass notes and subtle guitar touches, sets the stage for the drums to come in and elevate the music to a new level, making it more vigorous. Well-crafted guitar lines, incandescent synthesizer solos, and symphonic keyboards, supported by a solid rhythm section, make this track one of the album's highlights. "The Virtue of..." starts darkly, with a mix of atmospheric space rock and ambient post-rock. The guitar ignites the music throughout its duration, alternating with organ bursts reminiscent of Jon Lord. Bass and drums once again create a pulsating foundation, maintaining the tension and the listener's interest.
"Flatlander" is the heaviest track on the album, flirting with heavy metal. Here, the band delivers a more straightforward instrumental, where all instruments come together to create a distorted and aggressive atmosphere. The track doesn't have much variation, so it was a wise decision to keep it short, avoiding unnecessary prolongation. "Tramp Hollow" is another track with little variation, which might cause slight frustration, as the band seems to be setting the listener up for a rhythm change that never arrives. However, the track still has its charms, with vibrant guitar solos, pulsating bass lines, solid drumming, and keyboards that fill all the spaces well, culminating in an interesting piano solo at the end.
"Notes of the Concubine" begins with an acoustic guitar that could easily have come from a Steve Hackett album due to its classical aura. The music takes on a psychedelic tone until some more energetic piano notes announce a change in direction, which materializes with the entry of the other instruments. For those familiar with King Crimson, this track will resonate with the band's more abstract and dissonant compositions. Dark and anguished, the music also offers moments influenced by avant-garde jazz.
"Eyota," at nearly 13 minutes long, is the album's longest piece. The title honors a city in Minnesota, whose name derives from a Sioux term meaning "the greatest." Quite fitting, after all, it is the pinnacle of the album in terms of composition. The piano opens the track, followed by an explosion of drums that introduces elements of zeuhl in the first three and a half minutes, until the solitary piano returns to guide the music in a more accessible and less experimental direction. Overall, it's a track that oscillates between aggressive and serene moments, but always within a sinister atmosphere, where the keys stand out as the piece's great asset.
"Chateau La Barre" is, in my opinion, a weak point of the album, but it lasts just over two minutes. An electronic keyboard leads the track, which seems more like an interlude linking the previous track to the next. However, this "hook" doesn't mesh well with either, feeling out of place both in relation to the two tracks and the album as a whole. "Serpentine" starts with a vibe reminiscent of White Stripes, mixed with an almost metallic sonic explosion. The track alternates between heavy and softer moments, with a clear jazzy vein, especially in the Hammond attacks. "The Way" is the final track, excellent for both closing the album and ending the band's shows. It's a perfect illustration of four musicians working almost like human metronomes. Bass lines that are perhaps the best on the album, fiery guitar solos, atmospheric keyboards, and exuberant drumming craft an album finale that couldn't be better.
By the end of this nearly 70-minute album, I realized that only the two minutes and a bit of "Chateau La Barre" didn't truly please me. This gave me the certainty that I was in the presence of a great band that produced yet another remarkable achievement and deserves much more recognition than it currently has. There Are No Ordinary Moments is an album with an incredible level of musicianship and full of variations, that, even while exploring numerous paths and different directions, manages to remain coherent and captivating.
NOTA: 9/10
Tracks Listing
1. Red Blanket (8:13)
2. Eagle Plains (7:58)
3. The Virtue of... (5:52)
4. Flatlander (3:14)
5. Tramp Hollow (5:28)
6. Notes of the Concubine (8:20)
7. Eyota (12:39)
8. Chateau La Barre (2:12)
9. Serpentine (6:54)
10. The Way (7:30)
Ouça, "Eagle Plains"
When it comes to instrumental albums, I know that many listeners tend not to be drawn in—at least, that's what I've noticed when trying to recommend this type of work. I admit that I can sometimes understand this resistance because an album composed exclusively of instrumental tracks can easily sound repetitive and tedious, especially for those unfamiliar with the genre. In this case, the album may seem devoid of cohesion, as if it were just a collection of superficial songs with no clear direction, giving the impression that the musicians are wandering without knowing where they came from or where they are going. However, with There Are No Ordinary Moments, that's not the case. Despite its instrumental nature, it offers an engaging listening experience, even for those less familiar with progressive music.
This is the fifth album by Ovrfwrd, who remain solid in their lineup, once again bringing the same members from the previous four works: Mark Ilaug (guitar), Chris Malmgren (keyboards), Kyle Lund (bass), and Richard Davenport (drums). Since the debut album, it's clear that the band has become increasingly cohesive, playing with a naturalness that reflects the instrumental impact and compositional sophistication that have already become the group's trademarks. There's an evident democracy in the way each member contributes to the sound, resulting in a cohesive and well-balanced album.
One of Ovrfwrd's trademarks, also present in this album, is the ability to turn simple developments, such as those found in blues rock, into intricate pieces that rival the best jam bands. Over its nearly 70 minutes, spread across 10 tracks, the band explores a rich tapestry of sounds and textures that range from classic progressive rock to jazz fusion, passing through psychedelic music. Each piece is robust, keeping the listener engaged from start to finish.
The opening track, "Red Blanket," begins with a strong rhythmic section and a delicately punctuated flute—played on the keyboard. What surprises is the trumpet line that emerges shortly afterward, an unexpected and brilliant touch, although no one is credited with the instrument. Perhaps it's another keyboard intervention, but either way, the idea turned out very well. The track has a strong jazzy tendency—specifically jazz rock—with a rich, nuanced rhythm section, guitars alternating between heaviness and softness, and keyboards creating an exuberant melody in the background.
"Eagle Plains" begins ethereally, creating a dreamy atmosphere that captivates with its sophistication. The almost classical piano, accompanied by spaced-out bass notes and subtle guitar touches, sets the stage for the drums to come in and elevate the music to a new level, making it more vigorous. Well-crafted guitar lines, incandescent synthesizer solos, and symphonic keyboards, supported by a solid rhythm section, make this track one of the album's highlights. "The Virtue of..." starts darkly, with a mix of atmospheric space rock and ambient post-rock. The guitar ignites the music throughout its duration, alternating with organ bursts reminiscent of Jon Lord. Bass and drums once again create a pulsating foundation, maintaining the tension and the listener's interest.
"Flatlander" is the heaviest track on the album, flirting with heavy metal. Here, the band delivers a more straightforward instrumental, where all instruments come together to create a distorted and aggressive atmosphere. The track doesn't have much variation, so it was a wise decision to keep it short, avoiding unnecessary prolongation. "Tramp Hollow" is another track with little variation, which might cause slight frustration, as the band seems to be setting the listener up for a rhythm change that never arrives. However, the track still has its charms, with vibrant guitar solos, pulsating bass lines, solid drumming, and keyboards that fill all the spaces well, culminating in an interesting piano solo at the end.
"Notes of the Concubine" begins with an acoustic guitar that could easily have come from a Steve Hackett album due to its classical aura. The music takes on a psychedelic tone until some more energetic piano notes announce a change in direction, which materializes with the entry of the other instruments. For those familiar with King Crimson, this track will resonate with the band's more abstract and dissonant compositions. Dark and anguished, the music also offers moments influenced by avant-garde jazz.
"Eyota," at nearly 13 minutes long, is the album's longest piece. The title honors a city in Minnesota, whose name derives from a Sioux term meaning "the greatest." Quite fitting, after all, it is the pinnacle of the album in terms of composition. The piano opens the track, followed by an explosion of drums that introduces elements of zeuhl in the first three and a half minutes, until the solitary piano returns to guide the music in a more accessible and less experimental direction. Overall, it's a track that oscillates between aggressive and serene moments, but always within a sinister atmosphere, where the keys stand out as the piece's great asset.
"Chateau La Barre" is, in my opinion, a weak point of the album, but it lasts just over two minutes. An electronic keyboard leads the track, which seems more like an interlude linking the previous track to the next. However, this "hook" doesn't mesh well with either, feeling out of place both in relation to the two tracks and the album as a whole. "Serpentine" starts with a vibe reminiscent of White Stripes, mixed with an almost metallic sonic explosion. The track alternates between heavy and softer moments, with a clear jazzy vein, especially in the Hammond attacks. "The Way" is the final track, excellent for both closing the album and ending the band's shows. It's a perfect illustration of four musicians working almost like human metronomes. Bass lines that are perhaps the best on the album, fiery guitar solos, atmospheric keyboards, and exuberant drumming craft an album finale that couldn't be better.
By the end of this nearly 70-minute album, I realized that only the two minutes and a bit of "Chateau La Barre" didn't truly please me. This gave me the certainty that I was in the presence of a great band that produced yet another remarkable achievement and deserves much more recognition than it currently has. There Are No Ordinary Moments is an album with an incredible level of musicianship and full of variations, that, even while exploring numerous paths and different directions, manages to remain coherent and captivating.
NOTA: 9/10
Tracks Listing
1. Red Blanket (8:13)
2. Eagle Plains (7:58)
3. The Virtue of... (5:52)
4. Flatlander (3:14)
5. Tramp Hollow (5:28)
6. Notes of the Concubine (8:20)
7. Eyota (12:39)
8. Chateau La Barre (2:12)
9. Serpentine (6:54)
10. The Way (7:30)
Nenhum comentário:
Postar um comentário