Qualquer um familiarizado com o trabalho de Richard Wileman como líder e principal compositor da banda Karda Estra já pode imaginar o tipo de música que encontrará em seus discos solo. No entanto, afastado de sua banda, Wileman revela um lado ainda mais sombrio e taciturno. The Forked Road, seu quarto trabalho solo, exemplifica essa faceta com maestria. Nas palavras do próprio Wileman, “The Forked Road é um álbum conceitual de terror progressivo/folk, enraizado no condado de Wiltshire, que narra o encontro de um cometa com a Terra, resultando em uma convergência de mortos-vivos em direção a The Ridgeway”.
Apesar de eu considerar Wileman um nome essencial na cena progressiva do século XXI, entendo o motivo pelo qual ele nunca recebeu o reconhecimento merecido. Sua música frequentemente transcende os limites do rock progressivo, mergulhando em terrenos que lembram a música clássica moderna, ao mesmo tempo em que evoca sonoridades de trilhas sonoras de filmes de terror, criando uma atmosfera visual e inquietante. Outro ponto a ser considerado é sua rara presença em apresentações ao vivo, principalmente devido ao uso de uma ampla variedade de instrumentos. No entanto, essa mesma diversidade instrumental é o que torna seus discos tão fascinantes.
A faixa de abertura, “The Last Book of English Magic,” já estabelece o humor do álbum. Trata-se de uma peça instrumental repleta de beleza, mas que também carrega uma melancolia densa e uma sutil angústia. O dedilhado delicado do violão e as linhas etéreas da harpa são os destaques, criando uma atmosfera envolvente e encantadora. “Butterfly” segue com violões cativantes, logo acompanhados pelos vocais melódicos de Richard. Os teclados intrigantes e a guitarra, que aparece pontualmente, acrescentam camadas à composição.
A faixa-título, “The Forked Road,” é mais uma peça instrumental que exala mistério e enigma, como se fosse a trilha sonora de um filme de terror inexistente. Novamente, o trabalho de harpa de Chantelle Smith se destaca, às vezes soando ligeiramente dissonante, mas sempre dentro da proposta atmosférica do álbum. Em “Children of the Sun,” Wileman é acompanhado por Amy Fry nos refrãos. A canção, predominantemente conduzida por voz e violão, com sintetizadores e guitarra aparecendo timidamente, possui um clima onírico e delirante, descrevendo a vida daqueles que já partiram e estão prestes a reencarnar.
Em “Avenue & Circle,” Chantelle Smith retorna com sua harpa hipnotizante, acompanhando o violão e os teclados atmosféricos de Wileman. A música é tocada de forma espaçada, com batidas que surgem de maneira quase acidental, proporcionando ao ouvinte uma experiência sônica assombrosa, sendo um dos momentos mais sombrios do disco. “Comet VS The Earth” traz de volta os vocais celestiais de Amy Fry, além de sua performance no clarinete. Mais uma vez, o violão e o teclado de Wileman criam uma harmonia enigmática, marcando um ponto crucial no conceito do álbum, onde os mortos são gradualmente trazidos de volta à vida pela passagem do cometa.
“Old Bones” possui uma fluidez que remete às bandas de rock psicodélico dos anos 60, com seus duetos vocais masculinos e femininos – embora, nesta obra, a faixa pareça um pouco deslocada. Chantelle, além de tocar harpa, assume os vocais que acompanham Richard. “Spectres of the Ridgeway,” é a faixa mais extensa do álbum. Além da presença de Amy Fry no saxofone e Chantelle Smith na harpa, Richard – no violão e teclado – convida sua filha, Sienna Wileman, para adicionar efeitos sonoros. O resultado é a melhor composição do álbum: uma peça de vanguarda impressionante, transcendental, sinistra e assustadora, que cresce no ouvinte conforme se desenvolve.
“The Inevitable Beast” destaca-se pelas ondas sombrias dos teclados atmosféricos e pelos vocais dramáticos de Wileman. A forma como a música se desenvolve faz o ouvinte questionar se a criatura mencionada é apenas simbólica, sugerindo que no final, tudo deu certo para a humanidade, ou se é necessário ouvir o álbum mais uma vez para captar algum detalhe perdido na trama. “The First Book of English Magic” encerra o disco, refletindo o outro lado da peça que o iniciou. Com menos de dois minutos, é a menor faixa do álbum, apresentando um belo trabalho de violão e teclas harmoniosas que evocam o clima taciturno que permeou toda a obra.
The Forked Road é daqueles discos que fluem tão bem que ouvi-lo repetidamente por várias horas não seria um problema. No entanto, há um outro lado dessa experiência: sua música pode não ser fácil de absorver caso o ouvinte busque algo diferente de um álbum repleto de paisagens sonoras cinematográficas, construídas por desenvolvimentos melódicos muitas vezes mórbidos e silêncios sepulcrais.
================================Anyone familiar with Richard Wileman’s work as the leader and primary composer of the band Karda Estra can already imagine the type of music found on his solo albums. However, away from his band, Wileman reveals an even darker and more brooding side. The Forked Road, his fourth solo work, exemplifies this facet masterfully. In Wileman’s own words, The Forked Road is a conceptual progressive/folk horror album, rooted in the county of Wiltshire, narrating the encounter of a comet with Earth, resulting in a convergence of the undead towards The Ridgeway.”
Although I consider Wileman an essential name in the 21st-century progressive scene, I understand why he has never received the recognition he deserves. His music often transcends the boundaries of progressive rock, diving into terrains reminiscent of modern classical music while evoking the sounds of horror film soundtracks, creating a visual and unsettling atmosphere. Another point to consider is his rare presence in live performances, mainly due to the use of a wide variety of instruments. However, this same instrumental diversity is what makes his albums so fascinating.
The opening track, "The Last Book of English Magic," already sets the mood for the album. It’s an instrumental piece filled with beauty, yet it carries a dense melancholy and subtle anguish. The delicate guitar fingerpicking and the ethereal harp lines are the highlights, creating an immersive and enchanting atmosphere. "Butterfly" follows with captivating guitars, soon accompanied by Richard’s melodic vocals. The intriguing keyboards and the sporadic guitar add layers to the composition.
The title track, "The Forked Road," is another instrumental piece that exudes mystery and enigma, as if it were the soundtrack to a non-existent horror movie. Once again, Chantelle Smith’s harp work stands out, at times sounding slightly dissonant but always within the atmospheric intent of the album. In "Children of the Sun," Wileman is accompanied by Amy Fry in the choruses. The song, predominantly driven by voice and guitar, with synthesizers and guitar making timid appearances, has a dreamlike and delirious feel, describing the lives of those who have passed away and are about to reincarnate.
In "Avenue & Circle," Chantelle Smith returns with her mesmerizing harp, accompanying Wileman’s guitar and atmospheric keyboards. The music is played in a spaced-out manner, with beats that emerge almost accidentally, providing the listener with a haunting sonic experience, making it one of the darkest moments of the album. "Comet VS The Earth" brings back Amy Fry’s celestial vocals, along with her performance on the clarinet. Once again, Wileman’s guitar and keyboard create an enigmatic harmony, marking a crucial point in the album’s concept, where the dead are gradually brought back to life by the passing comet.
"Old Bones" has a fluidity that harkens back to the psychedelic rock bands of the ’60s, with its male and female vocal duets – although in this work, the track feels somewhat out of place. Chantelle, besides playing the harp, takes on the vocals accompanying Richard. "Spectres of the Ridgeway" is the longest track on the album. In addition to Amy Fry on saxophone and Chantelle Smith on harp, Richard – on guitar and keyboard – invites his daughter, Sienna Wileman, to add sound effects. The result is the best composition on the album: an impressive, avant-garde, transcendental, sinister, and frightening piece that grows on the listener as it develops.
"The Inevitable Beast" stands out for its dark waves of atmospheric keyboards and Wileman’s dramatic vocals. The way the music develops makes the listener question whether the creature mentioned is merely symbolic, suggesting that in the end, everything worked out for humanity, or if it’s necessary to listen to the album once more to catch some detail lost in the plot. "The First Book of English Magic" closes the album, reflecting the other side of the piece that started it. At less than two minutes, it’s the shortest track on the album, featuring beautiful guitar work and harmonious keys that evoke the somber mood that permeated the entire work.
The Forked Road is one of those albums that flows so well that listening to it repeatedly for several hours wouldn’t be a problem. However, there’s another side to this experience: its music may not be easy to absorb if the listener is looking for something other than an album filled with cinematic soundscapes, built on often morbid melodic developments and sepulchral silences.
NOTA: 7.5/10
Tracks Listing
1. The Last Book of English Magic (4:59)
2. Butterfly (3:42)
3. The Forked Road (2:30)
4. Children of the Sun (5:12)
5. Avenue & Circle (3:26)
6. Comet vs the Earth (3:08)
7. Old Bones (2:50)
8. Spectres of the Ridgeway (6:46)
9. The Inevitable Beast (5:47)
10. The First Book of English Magic (1:56)
Ouça, "Children of the Sun"
Anyone familiar with Richard Wileman’s work as the leader and primary composer of the band Karda Estra can already imagine the type of music found on his solo albums. However, away from his band, Wileman reveals an even darker and more brooding side. The Forked Road, his fourth solo work, exemplifies this facet masterfully. In Wileman’s own words, The Forked Road is a conceptual progressive/folk horror album, rooted in the county of Wiltshire, narrating the encounter of a comet with Earth, resulting in a convergence of the undead towards The Ridgeway.”
Although I consider Wileman an essential name in the 21st-century progressive scene, I understand why he has never received the recognition he deserves. His music often transcends the boundaries of progressive rock, diving into terrains reminiscent of modern classical music while evoking the sounds of horror film soundtracks, creating a visual and unsettling atmosphere. Another point to consider is his rare presence in live performances, mainly due to the use of a wide variety of instruments. However, this same instrumental diversity is what makes his albums so fascinating.
The opening track, "The Last Book of English Magic," already sets the mood for the album. It’s an instrumental piece filled with beauty, yet it carries a dense melancholy and subtle anguish. The delicate guitar fingerpicking and the ethereal harp lines are the highlights, creating an immersive and enchanting atmosphere. "Butterfly" follows with captivating guitars, soon accompanied by Richard’s melodic vocals. The intriguing keyboards and the sporadic guitar add layers to the composition.
The title track, "The Forked Road," is another instrumental piece that exudes mystery and enigma, as if it were the soundtrack to a non-existent horror movie. Once again, Chantelle Smith’s harp work stands out, at times sounding slightly dissonant but always within the atmospheric intent of the album. In "Children of the Sun," Wileman is accompanied by Amy Fry in the choruses. The song, predominantly driven by voice and guitar, with synthesizers and guitar making timid appearances, has a dreamlike and delirious feel, describing the lives of those who have passed away and are about to reincarnate.
In "Avenue & Circle," Chantelle Smith returns with her mesmerizing harp, accompanying Wileman’s guitar and atmospheric keyboards. The music is played in a spaced-out manner, with beats that emerge almost accidentally, providing the listener with a haunting sonic experience, making it one of the darkest moments of the album. "Comet VS The Earth" brings back Amy Fry’s celestial vocals, along with her performance on the clarinet. Once again, Wileman’s guitar and keyboard create an enigmatic harmony, marking a crucial point in the album’s concept, where the dead are gradually brought back to life by the passing comet.
"Old Bones" has a fluidity that harkens back to the psychedelic rock bands of the ’60s, with its male and female vocal duets – although in this work, the track feels somewhat out of place. Chantelle, besides playing the harp, takes on the vocals accompanying Richard. "Spectres of the Ridgeway" is the longest track on the album. In addition to Amy Fry on saxophone and Chantelle Smith on harp, Richard – on guitar and keyboard – invites his daughter, Sienna Wileman, to add sound effects. The result is the best composition on the album: an impressive, avant-garde, transcendental, sinister, and frightening piece that grows on the listener as it develops.
"The Inevitable Beast" stands out for its dark waves of atmospheric keyboards and Wileman’s dramatic vocals. The way the music develops makes the listener question whether the creature mentioned is merely symbolic, suggesting that in the end, everything worked out for humanity, or if it’s necessary to listen to the album once more to catch some detail lost in the plot. "The First Book of English Magic" closes the album, reflecting the other side of the piece that started it. At less than two minutes, it’s the shortest track on the album, featuring beautiful guitar work and harmonious keys that evoke the somber mood that permeated the entire work.
The Forked Road is one of those albums that flows so well that listening to it repeatedly for several hours wouldn’t be a problem. However, there’s another side to this experience: its music may not be easy to absorb if the listener is looking for something other than an album filled with cinematic soundscapes, built on often morbid melodic developments and sepulchral silences.
NOTA: 7.5/10
Tracks Listing
1. The Last Book of English Magic (4:59)
2. Butterfly (3:42)
3. The Forked Road (2:30)
4. Children of the Sun (5:12)
5. Avenue & Circle (3:26)
6. Comet vs the Earth (3:08)
7. Old Bones (2:50)
8. Spectres of the Ridgeway (6:46)
9. The Inevitable Beast (5:47)
10. The First Book of English Magic (1:56)
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