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Todo amante de rock progressivo dos anos 70 sabe que a cena australiana era bastante reduzida. Isso é até curioso, considerando os fortes laços comerciais e culturais que a Austrália manteve com a Inglaterra e os Estados Unidos, que a quantidade de bandas progressivas no país fosse tão limitada. No entanto, isso não impediu que músicos talentosos criassem trabalhos de qualidade. Sebastie Hardie é um exemplo notável. Influenciado por Camel, Yes e Focus, seu álbum Four Moments merece muito mais reconhecimento.
Embora a música do álbum não seja tão original ou intrincada quanto a de algumas das bandas que o influenciaram, ela é emocionante e realizada com paixão e dedicação. Os músicos são excelentes instrumentistas, demonstrando uma capacidade de composição admirável. As músicas são bem estruturadas, organizadas e executadas com precisão. Mario Millo, por exemplo, é um guitarrista que não se preocupa em exibir virtuosismo. Em vez disso, ele contribui com solos confortantes, carregados de sentimento e beleza, em um estilo que lembra Jan Akkermann – o que convenhamos, é um enorme elogio.
O álbum, cujo nome sugere um conceito, realmente tem um caráter conceitual, ou pelo menos parte dele. A suíte homônima ao nome do disco, composta pelas quatro primeiras faixas, explora o que é real e o que pode ser compreendido, refletindo sobre o impacto do tempo e das mudanças naturais, mergulhando em sonhos e experiências passageiras, para finalmente reafirmar a realidade das percepções vividas.
“Glories Shall Be Released”, a faixa de abertura, é a mais polida e comercial do álbum, mas não deixa de ser uma peça de qualidade. Inicia-se de maneira sinfônica, com teclados orquestrais acompanhados por uma guitarra melódica. A introdução é extensa, ocupando dois terços da música, sendo dominada por teclados eufônicos bem suportados por uma base rítmica sólida. Embora seja a faixa menos expressiva do álbum, é uma introdução eficaz.“Dawn of Our Sun” é uma maravilha. Começa com uma paisagem sonora intrigante, composta por flauta sintetizada, uma linha psicodélica de guitarra e címbalos que criam uma atmosfera onírica. Quando os vocais entram o clima de mistério se intensifica. A melancolia da letra é acentuada pela guitarra e principalmente pelo uso edificante do Mellotron.
“Journey Through Our Dreams” abre com um vocal suave e guitarra acústica. À medida que outros instrumentos entram, a música ganha corpo, destacando-se o mellotron que proporciona uma sensação sinfônica. Um solo de guitarra notável surge na metade, faixa, sendo seguido por sintetizadores que assumem o controle. A seção final, com mellotron e vocal emocionantes é um destaque. “Everything Is Real” é a faixa mais curta, simples e direta, sendo dominada por sintetizadores que culminam em um final sereno com Mellotron repetindo a linha já estabelecida.
“Rosanna” é uma exibição primorosa de guitarra melódica e trabalho emocionante de sintetizadores. Desenvolve-se com requinte e elegância, oferecendo uma sensação de paz ao ouvinte. “Openings” encerra muito bem o álbum , com treze minutos de paisagens sonoras edificantes. As influências de Camel são evidentes, especialmente na guitarra. A melodia é relaxante, com sintetizadores e orquestrações suaves. O órgão brilha, particularmente em seus solos mais efervescentes. A musicalidade onírica, principalmente as texturas espaciais do Mellotron. O riff de guitarra mais pesado no final adiciona uma nova dimensão à música, mantendo a melodia e acelerando o ritmo.
Embora Four Moments não se destaque pela originalidade ou virtuosismo, sua simplicidade é compensada por uma beleza intrínseca. Não pode ser comparado com as obras mais significativas do rock progressivo da época, mas é indiscutivelmente o disco australiano de rock progressivo mais significativo dos anos 1970.
================================Any fan of 1970s progressive rock knows that the Australian scene was quite limited. It’s curious, considering the strong commercial and cultural ties Australia had with England and the United States, that the number of progressive bands in the country was so small. Nevertheless, this did not stop talented musicians from creating quality work. Sebastian Hardie is a notable example. Influenced by Camel, Yes, and Focus, his album Four Moments deserves much more recognition.
While the music on this album may not be as original or intricate as some of the bands that influenced it, it is nonetheless heartfelt and executed with passion and dedication. The musicians are excellent instrumentalists, demonstrating admirable compositional skills. The songs are well-structured, organized, and performed with precision. Mario Millo, for instance, is a guitarist who does not seek to showcase virtuosity. Instead, he contributes comforting solos, rich in emotion and beauty, in a style reminiscent of Jan Akkerman – which is indeed a high compliment.
The album’s name suggests a conceptual theme, and indeed, it does possess a conceptual character, at least in part. The title suite, comprising the first four tracks, explores the nature of reality and understanding, reflecting on the impact of time and natural changes, delving into dreams and fleeting experiences, and ultimately reaffirming the reality of lived perceptions.
“Glories Shall Be Released,” the opening track, is the most polished and commercial on the album, but it is still a quality piece. It begins symphonically, with orchestral keyboards accompanied by a melodic guitar. The introduction is extensive, taking up two-thirds of the song, and is dominated by euphoric keyboards well-supported by a solid rhythmic foundation. While it is the least expressive track on the album, it serves as an effective introduction. “Dawn of Our Sun” is a marvel. It starts with an intriguing soundscape, composed of synthesized flute, a psychedelic guitar line, and cymbals that create a dreamlike atmosphere. As the vocals enter, the sense of mystery intensifies. The melancholy of the lyrics is accentuated by the guitar and, notably, by the uplifting use of Mellotron.
“Journey Through Our Dreams” opens with soft vocals and acoustic guitar. As other instruments join in, the music gains depth, with the Mellotron providing a symphonic feel. A notable guitar solo emerges midway through the track, followed by synthesizers taking over. The final section, with its emotive Mellotron and vocals, is a highlight. “Everything Is Real” is the shortest track, straightforward and direct, dominated by synthesizers, culminating in a serene ending with the Mellotron repeating the established line.
“Rosanna” is a masterful display of melodic guitar and emotive synthesizer work. It unfolds with refinement and elegance, offering a sense of peace to the listener. “Openings” concludes the album beautifully, with thirteen minutes of uplifting soundscapes. The Camel influences are evident, especially in the guitar work. The melody is soothing, with gentle synthesizers and orchestrations. The organ shines, particularly in its more effervescent solos. The dreamy musicality, primarily the spatial textures of the Mellotron, adds to the album’s charm. The heavier guitar riff at the end introduces a new dimension to the music, maintaining the melody while speeding up the rhythm.
Although Four Moments does not stand out for its originality or virtuosity, its simplicity is compensated by an intrinsic beauty. It cannot be compared with the most significant works of progressive rock from that era, but it is undeniably the most significant Australian progressive rock album of the 1970s.
NOTA: 7/10
Any fan of 1970s progressive rock knows that the Australian scene was quite limited. It’s curious, considering the strong commercial and cultural ties Australia had with England and the United States, that the number of progressive bands in the country was so small. Nevertheless, this did not stop talented musicians from creating quality work. Sebastian Hardie is a notable example. Influenced by Camel, Yes, and Focus, his album Four Moments deserves much more recognition.
While the music on this album may not be as original or intricate as some of the bands that influenced it, it is nonetheless heartfelt and executed with passion and dedication. The musicians are excellent instrumentalists, demonstrating admirable compositional skills. The songs are well-structured, organized, and performed with precision. Mario Millo, for instance, is a guitarist who does not seek to showcase virtuosity. Instead, he contributes comforting solos, rich in emotion and beauty, in a style reminiscent of Jan Akkerman – which is indeed a high compliment.
The album’s name suggests a conceptual theme, and indeed, it does possess a conceptual character, at least in part. The title suite, comprising the first four tracks, explores the nature of reality and understanding, reflecting on the impact of time and natural changes, delving into dreams and fleeting experiences, and ultimately reaffirming the reality of lived perceptions.
“Glories Shall Be Released,” the opening track, is the most polished and commercial on the album, but it is still a quality piece. It begins symphonically, with orchestral keyboards accompanied by a melodic guitar. The introduction is extensive, taking up two-thirds of the song, and is dominated by euphoric keyboards well-supported by a solid rhythmic foundation. While it is the least expressive track on the album, it serves as an effective introduction. “Dawn of Our Sun” is a marvel. It starts with an intriguing soundscape, composed of synthesized flute, a psychedelic guitar line, and cymbals that create a dreamlike atmosphere. As the vocals enter, the sense of mystery intensifies. The melancholy of the lyrics is accentuated by the guitar and, notably, by the uplifting use of Mellotron.
“Journey Through Our Dreams” opens with soft vocals and acoustic guitar. As other instruments join in, the music gains depth, with the Mellotron providing a symphonic feel. A notable guitar solo emerges midway through the track, followed by synthesizers taking over. The final section, with its emotive Mellotron and vocals, is a highlight. “Everything Is Real” is the shortest track, straightforward and direct, dominated by synthesizers, culminating in a serene ending with the Mellotron repeating the established line.
“Rosanna” is a masterful display of melodic guitar and emotive synthesizer work. It unfolds with refinement and elegance, offering a sense of peace to the listener. “Openings” concludes the album beautifully, with thirteen minutes of uplifting soundscapes. The Camel influences are evident, especially in the guitar work. The melody is soothing, with gentle synthesizers and orchestrations. The organ shines, particularly in its more effervescent solos. The dreamy musicality, primarily the spatial textures of the Mellotron, adds to the album’s charm. The heavier guitar riff at the end introduces a new dimension to the music, maintaining the melody while speeding up the rhythm.
Although Four Moments does not stand out for its originality or virtuosity, its simplicity is compensated by an intrinsic beauty. It cannot be compared with the most significant works of progressive rock from that era, but it is undeniably the most significant Australian progressive rock album of the 1970s.
NOTA: 7/10
- Four Moments:
1. Glories Shall Be Released (6:40)
2. Dawn of Our Sun (5:06)
3. Journey Through Our Dreams (6:43)
4. Everything Is Real (2:09)
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5. Rosanna (5:59)
6. Openings (13:01)
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