Par Lindh Project sem dúvida é uma banda que merece mais reconhecimento no universo do rock progressivo. Quando alguém me pergunta sobre eles, a primeira palavra que me vem à mente é "injustiçada". É surpreendente e até um pouco triste perceber o quanto esse grupo parece subestimado, especialmente considerando a qualidade incrível da música que produzem. Eles conseguem criar composições impecáveis do início ao fim, adaptando-se a diversos estilos da música clássica, com uma ênfase particular no Barroco, ao mesmo tempo em que incorporam elementos sinfônicos e linhas mais pesadas ao seu som.
As habilidades de Par Lindh no órgão Hammond são inegáveis e são apoiadas por uma banda incrível que cria uma atmosfera maravilhosa em todo o álbum, mantendo sempre a sobriedade e o equilíbrio na música. Não há excessos ou performances individuais exageradas; tudo se encaixa perfeitamente, como uma sinfonia onde cada instrumento contribui para o conjunto, sem que nada se destaque de maneira desproporcional.
O álbum começa com "Baroque Impression No. 1", que já nos primeiros acordes de órgão nos mostra uma banda profundamente enraizada na música clássica, com influências claras de compositores como Bach e Vivaldi. No entanto, à medida que a faixa avança, a guitarra quase metálica de Jocke Ramsell entra em cena, lembrando-nos de que, apesar do início Barroco, estamos ouvindo rock progressivo. A música é repleta de passagens primorosas de guitarra, violão, baixo com uma ruptura intrigante, e um violino que complementa perfeitamente a composição. O órgão de Par Lindh, sempre enérgico e dinâmico, é o fio condutor que costura todos esses elementos juntos de maneira inventiva.
A segunda faixa, "The Crimson Shield", carrega uma incrível carga emocional em grande parte devido aos vocais de Magdalena Hagberg - infelizmente falecida em 2007 aos 34 anos devido a um câncer no cérebro -, que nos remetem à grandiosidade de Annie Haslam. Essa comparação não se dá apenas pelo fato de ambas serem mulheres, mas pela própria linha melódica da música e pela forma como os vocais são executados. O trabalho de clavinete é acentuado pelo Mellotron, criando uma atmosfera quase etérea. É uma música lindamente construída e que toca a alma.
A última faixa do álbum, que também é a faixa-título, "Mundus Incompertus", é um épico de mais de vinte e seis minutos. Uma obra de arte que nunca deixa o ouvinte com um sentimento de tédio, mas o conduz por meio de uma viagem sonora incrível. É uma combinação magistral de elementos característicos de gigantes do progressivo como King Crimson, Emerson, Lake & Palmer, e Van der Graaf Generator. A faixa começa suavemente, com a bela voz de Magdalena Hagberg, mas logo se transforma, revelando múltiplas facetas. Ela transporta o ouvinte do período Gótico ao Barroco em questão de segundos. A bateria de Nisse Bielfeld é o que mantém a integridade da música; enquanto o restante dos instrumentos pode vagar livremente, Bielfeld sempre mantém a trilha no tempo certo, como um verdadeiro metrônomo humano. A música é agressiva, dinâmica e liderada por impressionantes performances de órgão e guitarra. É uma composição onde se pode esperar de tudo: solos de órgão em estilo gótico, passagens de jazz, violino dramático, guitarra frenética, baixo sólido, e mudanças radicais de direção, além de excelentes trabalhos de piano, moog e mellotron. Resumindo, é uma verdadeira aula de rock progressivo.
Muitas vezes, Par Lindh é comparado a Keith Emerson, e alguns podem dizer que essa comparação tira um pouco do brilho de sua obra. Mas, sinceramente, acredito que existem poucas semelhanças. Emerson era conhecido por sua extravagância e estilo excessivo, enquanto Par Lindh é mais contido e sóbrio. São dois músico incríveis, mas cada um à sua maneira. Este é um disco obrigatório para os fãs de rock progressivo dos anos 70 e que procuram bandas modernas sem perder o espírito dos anos dourados do gênero.
================================Par Lindh Project is undoubtedly a band that deserves more recognition in the progressive rock universe. When someone asks me about them, the first word that comes to mind is "underrated." It’s surprising and even a little sad to realize how overlooked this group seems to be, especially considering the incredible quality of the music they produce. They manage to create flawless compositions from start to finish, adapting to various styles of classical music, with a particular emphasis on the Baroque, while simultaneously incorporating symphonic elements and heavier lines into their sound.
Par Lindh's skills on the Hammond organ are undeniable, supported by an incredible band that creates a wonderful atmosphere throughout the album, always maintaining sobriety and balance in the music. There are no excesses or exaggerated individual performances; everything fits together perfectly, like a symphony where each instrument contributes to the whole without anything standing out disproportionately.
The album begins with "Baroque Impression No. 1," which, in the first organ chords, already shows us a band deeply rooted in classical music, with clear influences from composers like Bach and Vivaldi. However, as the track progresses, Jocke Ramsell's almost metallic guitar comes into play, reminding us that despite the Baroque beginning, we are listening to progressive rock. The music is filled with exquisite passages of guitar, acoustic guitar, bass with an intriguing break, and a violin that perfectly complements the composition. Par Lindh's organ, always energetic and dynamic, is the thread that stitches all these elements together in an inventive way.
The second track, "The Crimson Shield," carries an incredible emotional weight largely due to the vocals of Magdalena Hagberg—Unfortunately, she passed away in 2007 at the age of 34
due to brain cancer—evoking the grandeur of Annie Haslam. This comparison is not made merely because both are women, but due to the melodic line of the music itself and the way the vocals are executed. The clavinet work is accentuated by the Mellotron, creating an almost ethereal atmosphere. It’s a beautifully constructed piece of music that touches the soul.
The final track of the album, which is also the title track, "Mundus Incompertus," is an epic of over twenty-six minutes. A masterpiece that never leaves the listener feeling bored but rather takes them on an incredible sonic journey. It’s a masterful combination of elements characteristic of progressive giants like King Crimson, Emerson, Lake & Palmer, and Van der Graaf Generator. The track begins softly, with Magdalena Hagberg's beautiful voice, but soon transforms, revealing multiple facets. It transports the listener from the Gothic to the Baroque period in a matter of seconds. Nisse Bielfeld’s drumming is what maintains the integrity of the music; while the other instruments may roam freely, Bielfeld always keeps the track in perfect time, like a true human metronome. The music is aggressive, dynamic, and led by impressive organ and guitar performances. It’s a composition where you can expect anything: gothic-style organ solos, jazz passages, dramatic violin, frenetic guitar, solid bass, and radical changes in direction, along with excellent piano, Moog, and Mellotron work. In short, it’s a true masterclass in progressive rock.
Par Lindh is often compared to Keith Emerson, and some might say that this comparison takes away a bit of the shine from his work. But honestly, I believe there are few similarities. Emerson was known for his extravagance and excessive style, while Par Lindh is more restrained and sober. They are both incredible musicians, each in their own way. This is a must-have album for fans of 70s progressive rock who are looking for modern bands without losing the spirit of the genre’s golden years.
NOTA:9.5/10
Tracks Listing
1. Baroque Impression No. 1 (9:10)
2. The Crimson Shield (6:38)
3. Mundus Incompertus (26:43)
Ouça, "Baroque Impression "
Par Lindh Project is undoubtedly a band that deserves more recognition in the progressive rock universe. When someone asks me about them, the first word that comes to mind is "underrated." It’s surprising and even a little sad to realize how overlooked this group seems to be, especially considering the incredible quality of the music they produce. They manage to create flawless compositions from start to finish, adapting to various styles of classical music, with a particular emphasis on the Baroque, while simultaneously incorporating symphonic elements and heavier lines into their sound.
Par Lindh's skills on the Hammond organ are undeniable, supported by an incredible band that creates a wonderful atmosphere throughout the album, always maintaining sobriety and balance in the music. There are no excesses or exaggerated individual performances; everything fits together perfectly, like a symphony where each instrument contributes to the whole without anything standing out disproportionately.
The album begins with "Baroque Impression No. 1," which, in the first organ chords, already shows us a band deeply rooted in classical music, with clear influences from composers like Bach and Vivaldi. However, as the track progresses, Jocke Ramsell's almost metallic guitar comes into play, reminding us that despite the Baroque beginning, we are listening to progressive rock. The music is filled with exquisite passages of guitar, acoustic guitar, bass with an intriguing break, and a violin that perfectly complements the composition. Par Lindh's organ, always energetic and dynamic, is the thread that stitches all these elements together in an inventive way.
The second track, "The Crimson Shield," carries an incredible emotional weight largely due to the vocals of Magdalena Hagberg—Unfortunately, she passed away in 2007 at the age of 34 due to brain cancer—evoking the grandeur of Annie Haslam. This comparison is not made merely because both are women, but due to the melodic line of the music itself and the way the vocals are executed. The clavinet work is accentuated by the Mellotron, creating an almost ethereal atmosphere. It’s a beautifully constructed piece of music that touches the soul.
The final track of the album, which is also the title track, "Mundus Incompertus," is an epic of over twenty-six minutes. A masterpiece that never leaves the listener feeling bored but rather takes them on an incredible sonic journey. It’s a masterful combination of elements characteristic of progressive giants like King Crimson, Emerson, Lake & Palmer, and Van der Graaf Generator. The track begins softly, with Magdalena Hagberg's beautiful voice, but soon transforms, revealing multiple facets. It transports the listener from the Gothic to the Baroque period in a matter of seconds. Nisse Bielfeld’s drumming is what maintains the integrity of the music; while the other instruments may roam freely, Bielfeld always keeps the track in perfect time, like a true human metronome. The music is aggressive, dynamic, and led by impressive organ and guitar performances. It’s a composition where you can expect anything: gothic-style organ solos, jazz passages, dramatic violin, frenetic guitar, solid bass, and radical changes in direction, along with excellent piano, Moog, and Mellotron work. In short, it’s a true masterclass in progressive rock.
Par Lindh is often compared to Keith Emerson, and some might say that this comparison takes away a bit of the shine from his work. But honestly, I believe there are few similarities. Emerson was known for his extravagance and excessive style, while Par Lindh is more restrained and sober. They are both incredible musicians, each in their own way. This is a must-have album for fans of 70s progressive rock who are looking for modern bands without losing the spirit of the genre’s golden years.
NOTA:9.5/10
Tracks Listing
1. Baroque Impression No. 1 (9:10)
2. The Crimson Shield (6:38)
3. Mundus Incompertus (26:43)
Ouça, "Baroque Impression "
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