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Minha jornada pela carreira solo de Peter Gabriel começou com o álbum So, talvez sua obra mais popular. Embora eu tenha apreciado o disco, foi ao me aprofundar em sua discografia que descobri sua verdadeira joia: seu terceiro álbum, conhecido popularmente como Melt. Foi uma experiência memorável, um álbum que me cativou desde o primeiro momento. Confesso que poucos álbuns me tocaram tão profundamente quanto este. A diversidade, a experimentação e a maestria nos arranjos fazem deste uma peça essencial em qualquer coleção.
Melt marca uma grande ruptura na carreira de Gabriel, onde ele finalmente encontra sua voz, seu som e seu estilo únicos. O álbum apresenta uma paisagem sonora ao mesmo tempo estranha e bela e que combina instrumentos primitivos com os modernos da época. As letras são perturbadoras, inteligentes e inspiradas, abordando temas como racismo, preconceito, guerra, psicopatologia e desajustes sociais. Trata-se de uma obra complexa e extremamente bem elaborada, porém, acessível.
O disco abre com "Intruder", uma faixa que imediatamente expõe todas as qualidades do álbum. Os primeiros sons que ouvimos são da bateria de Phil Collins e que apresenta uma sonoridade marcante. A letra elaborada e os vocais assustadores deixam claro que Gabriel estava pronto para deixar para trás o trabalho anterior e mergulhar em um campo experimental, algo esperado desde seu primeiro álbum, mas não era realizado até aquele momento. Apesar do assobio próximo ao final da faixa que lembra o Genesis, o desenvolvimento de Gabriel como artista ultrapassa tudo o que ele fez com sua antiga banda.
"No Self Control" eleva ainda mais a estranheza da produção, com sons cuidadosamente organizados. A bateria de Collins nesta faixa certamente influenciou a mudança de estilo de Jerry Marotta. Kate Bush contribui com vocais de apoio sutis e que servem como um recurso de ritmo adicional, cortando os vocais maníacos do "coro" de Gabriel. O trabalho de guitarra de Robert Fripp é soberbo, assim como as linhas de baixo fretless de John Giblin, dinâmicas e incríveis. "Start" é uma breve faixa instrumental que serve como uma transição delicada entre duas músicas intensas. Com um saxofone jazzístico e um baixo que se torna dissonante à medida que o saxofone atinge notas mais altas, a faixa é curta, mas muito bonita.
"I Don't Remember" traz o primeiro momento mais pop do álbum, mas com uma letra e um tom bastante obscuros. A performance de Tony Levin no Chapman Stick é fenomenal como sempre fornecendo a base para a música. Os vocais brilhantes, os momentos eletrônicos e as linhas distorcidas e melódicas provam - para os que duvidam e que eu não me incluo - que a música dos anos 80 também possui ouro. "Family Snapshot" é uma das faixas mais impactantes do álbum, uma peça sem gênero definido que mistura piano, rajadas de rock e uma seção de metal sintetizado. A ausência de címbalo exige uma percussão inventiva, tornando a faixa ainda mais eficaz. A sofisticação da música é notável, mas são os vocais de Gabriel que realmente se destacam, transbordando significado e emoção.
"And Through the Wire" retoma o estilo do segundo álbum, mas com uma execução muito superior. Começa com um riff de guitarra cativante e um baixo pulsante, embora o refrão possa se tornar um pouco repetitivo. Ainda assim, é uma faixa audível e bem trabalhada, mesmo que soe como um pequeno soluço em um álbum impecável. "Games Without Frontiers" é outro momento pop do álbum e provavelmente o single que trouxe Gabriel para a atenção de um novo público. As letras são peculiares, mas inteligentes, enquanto que o trabalho de sintetizador é inspirador. Kate Bush retorna com seus vocais suaves e sedosos, contribuindo para uma música que prova que o pop pode ser progressivo.
"Not One Of Us" pode ser considerada a faixa mais fraca do álbum, mas isso não significa que seja ruim. Embora não seja tão emocionante quanto o resto do disco, ainda é uma música admirável por sua inteligência e execução. "Lead a Normal Life" é uma das faixas mais experimentais do disco, criando uma atmosfera inquietante e assombrosa. Os vocais breves se encaixam perfeitamente na melodia dolorosa do piano, resultando em uma faixa arrepiante.O álbum termina com "Biko", uma homenagem ao ativista Steve Biko. A música é simples, mas poderosa, trazendo letras que transmitem uma ironia amarga. Mesmo com arranjos mais simples, a faixa encerra o álbum de uma forma que encapsula tudo o que fez Melt funcionar tão bem.
Peter Gabriel assumiu grandes riscos com este álbum e entregou aos fãs a melhor música de sua carreira solo. Embora os álbuns posteriores tenham mantido a alta qualidade, nunca capturaram a essência de Melt. Um clássico sem gênero definido, mas de beleza concreta que combina rock, música eletrônica, experimental entre outros.
================================My journey through Peter Gabriel's solo career began with the album So, perhaps his most popular work. Although I appreciated that album, it was when I delved deeper into his discography that I discovered his true gem: his third album, commonly known as Melt. It was a memorable experience, an album that captivated me from the very first moment. I confess that few albums have touched me as deeply as this one. The diversity, experimentation, and mastery of the arrangements make this an essential piece in any collection.
Melt marks a significant turning point in Gabriel's career, where he finally finds his voice, his unique sound, and style. The album presents a soundscape that is both strange and beautiful, blending primitive instruments with the modern ones of the time. The lyrics are disturbing, intelligent, and inspired, tackling themes like racism, prejudice, war, psychopathology, and social misfits. It is a complex and extremely well-crafted work, yet accessible.
The album opens with "Intruder," a track that immediately showcases all the qualities of the album. The first sounds we hear are Phil Collins' drums, presenting a striking sonic signature. The elaborate lyrics and eerie vocals make it clear that Gabriel was ready to leave his previous work behind and dive into an experimental field, something expected since his first album, but not fully realized until now. Despite the whistle near the end of the track that recalls Genesis, Gabriel's development as an artist surpasses everything he did with his former band.
"No Self Control" heightens the strangeness of the production, with carefully arranged sounds. Collins' drumming on this track certainly influenced the style change of Jerry Marotta. Kate Bush contributes with subtle backing vocals that serve as an additional rhythmic resource, cutting through Gabriel's manic "chorus" vocals. Robert Fripp's guitar work is superb, as are John Giblin's dynamic and incredible fretless bass lines. "Start" is a brief instrumental track that serves as a delicate transition between two intense songs. With a jazzy saxophone and a bass that becomes dissonant as the saxophone reaches higher notes, the track is short but very beautiful.
"I Don't Remember" brings the first more pop moment of the album, but with a dark tone and lyrics. Tony Levin's performance on the Chapman Stick is phenomenal as always, providing the foundation for the music. The brilliant vocals, electronic moments, and distorted melodic lines prove— to the doubters, among whom I am not included— that 80s music also contains gold. "Family Snapshot" is one of the most impactful tracks on the album, a genre-defying piece that mixes piano, bursts of rock, and a synthesized brass section. The absence of cymbals demands inventive percussion, making the track even more effective. The sophistication of the music is remarkable, but it is Gabriel's vocals that truly stand out, overflowing with meaning and emotion.
"And Through the Wire" revisits the style of the second album but with much superior execution. It starts with a catchy guitar riff and pulsating bass, though the chorus can become a bit repetitive. Still, it is an audible and well-crafted track, even if it feels like a minor hiccup in an otherwise flawless album. "Games Without Frontiers" is another pop moment of the album and probably the single that brought Gabriel to the attention of a new audience. The lyrics are quirky but intelligent, while the synthesizer work is inspiring. Kate Bush returns with her smooth and silky vocals, contributing to a song that proves pop can be progressive.
"Not One of Us" might be considered the weakest track on the album, but that doesn’t mean it’s bad. While not as thrilling as the rest of the record, it is still an admirable song for its intelligence and execution. "Lead a Normal Life" is one of the most experimental tracks on the album, creating an unsettling and haunting atmosphere. The brief vocals fit perfectly with the painful piano melody, resulting in a chilling track. The album ends with "Biko," a tribute to activist Steve Biko. The song is simple but powerful, with lyrics conveying a bitter irony. Even with simpler arrangements, the track closes the album in a way that encapsulates everything that made Melt work so well.
Peter Gabriel took great risks with this album and delivered the best music of his solo career to his fans. While the subsequent albums maintained high quality, they never captured the essence of Melt. A genre-defying classic, but of concrete beauty that combines rock, electronic, experimental, and more.
NOTA: 10/10
Tracks Listing
1. Intruder (4:53)
2. No Self Control (3:56)
3. Start (1:21)
4. I Don't Remember (4:42)
5. Family Snapshot (4:29)
6. And Through the Wire (4:58)
7. Games Without Frontiers (4:07)
8. Not One of Us (5:21)
9. Lead a Normal Life (4:15)
10. Biko (7:27)
Ouça, "Family Snapshot"
My journey through Peter Gabriel's solo career began with the album So, perhaps his most popular work. Although I appreciated that album, it was when I delved deeper into his discography that I discovered his true gem: his third album, commonly known as Melt. It was a memorable experience, an album that captivated me from the very first moment. I confess that few albums have touched me as deeply as this one. The diversity, experimentation, and mastery of the arrangements make this an essential piece in any collection.
Melt marks a significant turning point in Gabriel's career, where he finally finds his voice, his unique sound, and style. The album presents a soundscape that is both strange and beautiful, blending primitive instruments with the modern ones of the time. The lyrics are disturbing, intelligent, and inspired, tackling themes like racism, prejudice, war, psychopathology, and social misfits. It is a complex and extremely well-crafted work, yet accessible.
The album opens with "Intruder," a track that immediately showcases all the qualities of the album. The first sounds we hear are Phil Collins' drums, presenting a striking sonic signature. The elaborate lyrics and eerie vocals make it clear that Gabriel was ready to leave his previous work behind and dive into an experimental field, something expected since his first album, but not fully realized until now. Despite the whistle near the end of the track that recalls Genesis, Gabriel's development as an artist surpasses everything he did with his former band.
"No Self Control" heightens the strangeness of the production, with carefully arranged sounds. Collins' drumming on this track certainly influenced the style change of Jerry Marotta. Kate Bush contributes with subtle backing vocals that serve as an additional rhythmic resource, cutting through Gabriel's manic "chorus" vocals. Robert Fripp's guitar work is superb, as are John Giblin's dynamic and incredible fretless bass lines. "Start" is a brief instrumental track that serves as a delicate transition between two intense songs. With a jazzy saxophone and a bass that becomes dissonant as the saxophone reaches higher notes, the track is short but very beautiful.
"I Don't Remember" brings the first more pop moment of the album, but with a dark tone and lyrics. Tony Levin's performance on the Chapman Stick is phenomenal as always, providing the foundation for the music. The brilliant vocals, electronic moments, and distorted melodic lines prove— to the doubters, among whom I am not included— that 80s music also contains gold. "Family Snapshot" is one of the most impactful tracks on the album, a genre-defying piece that mixes piano, bursts of rock, and a synthesized brass section. The absence of cymbals demands inventive percussion, making the track even more effective. The sophistication of the music is remarkable, but it is Gabriel's vocals that truly stand out, overflowing with meaning and emotion.
"And Through the Wire" revisits the style of the second album but with much superior execution. It starts with a catchy guitar riff and pulsating bass, though the chorus can become a bit repetitive. Still, it is an audible and well-crafted track, even if it feels like a minor hiccup in an otherwise flawless album. "Games Without Frontiers" is another pop moment of the album and probably the single that brought Gabriel to the attention of a new audience. The lyrics are quirky but intelligent, while the synthesizer work is inspiring. Kate Bush returns with her smooth and silky vocals, contributing to a song that proves pop can be progressive.
"Not One of Us" might be considered the weakest track on the album, but that doesn’t mean it’s bad. While not as thrilling as the rest of the record, it is still an admirable song for its intelligence and execution. "Lead a Normal Life" is one of the most experimental tracks on the album, creating an unsettling and haunting atmosphere. The brief vocals fit perfectly with the painful piano melody, resulting in a chilling track. The album ends with "Biko," a tribute to activist Steve Biko. The song is simple but powerful, with lyrics conveying a bitter irony. Even with simpler arrangements, the track closes the album in a way that encapsulates everything that made Melt work so well.
Peter Gabriel took great risks with this album and delivered the best music of his solo career to his fans. While the subsequent albums maintained high quality, they never captured the essence of Melt. A genre-defying classic, but of concrete beauty that combines rock, electronic, experimental, and more.
NOTA: 10/10
Tracks Listing
1. Intruder (4:53)
2. No Self Control (3:56)
3. Start (1:21)
4. I Don't Remember (4:42)
5. Family Snapshot (4:29)
6. And Through the Wire (4:58)
7. Games Without Frontiers (4:07)
8. Not One of Us (5:21)
9. Lead a Normal Life (4:15)
10. Biko (7:27)
Ouça, "Family Snapshot"
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