Dentro da esfera do rock progressivo, o Sleepytime Gorilla Museum se destaca como uma banda de rock experimental e vanguardista, cuja proposta musical é sem dúvida desafiadora e pouco convencional, o que pode torná-la inacessível para um público mais amplo. Se você é aquele tipo de ouvinte que prefere sonoridades mais familiares e convencionais, talvez essa resenha, por mais entusiasta que seja, não consiga convencê-lo a ouvir este álbum até o fim. A tendência pode ser pular de faixa em faixa, até mesmo as duas peças mais curtas, de apenas um minuto e meio cada. Espero estar exagerando, mas essa é uma advertência justa.
Formado em 1999 em Oakland, Califórnia, o Sleepytime Gorilla Museum se consolidou como uma entidade única no cenário musical, fundindo uma ampla gama de influências em uma expressão artística inconfundível. Suas apresentações ao vivo são tão elaboradas quanto suas composições, transcendem o formato tradicional de um show de rock e incorporam elementos de performance teatral que elevam o espetáculo a outro patamar. Além disso, o grupo adiciona uma camada extra de complexidade com narrativas possivelmente fictícias inspiradas em artistas dadaístas e matemáticos, criando um ambiente lírico tão enigmático quanto sua música.
Depois de um hiato de 13 anos, o retorno da banda com o álbum Of The Last Human Being em 1º de fevereiro de 2024 foi um verdadeiro acontecimento. Eu mesmo fiquei surpreso, já que desde 2011 a banda havia interrompido suas atividades, levando muitos a acreditar que haviam chegado ao fim. No entanto, seu retorno não só reativou sua base de fãs, como também trouxe à tona um disco que em muitos aspectos, parece uma extensão natural do trabalho anterior.
Durante minha pesquisa, descobri que a banda começou a trabalhar em Of The Last Human Being ainda em 2011, o que explica o motivo do álbum soar como uma continuação orgânica do seu antecessor. Aqueles que já apreciavam o som da banda, provavelmente continuarão a fazê-lo, enquanto aqueles que nunca se conectaram com a proposta do grupo, talvez se mantenham igualmente desconectados. Contudo, a continuidade não impede o disco de surpreender. Ao longo de seus 65 minutos, Of The Last Human Being oferece uma jornada sonora repleta de momentos instigantes.
A formação do grupo permanece a mesma desde o lançamento de In Glorious Times em 2007: Nils Frykdahl (guitarra e vocal), Carla Kihlstedt (violino, percussão, guitarra, baixo, harmônica e vocais), Michael Mellender (guitarra, xilofone, trompete, percussão e vocais), Dan Rathbun (baixo, dulcimer e vocais) e Matthias Bossi (bateria, glockenspiel, xilofone, piano e vocais de apoio). Esta coesão de 17 anos se reflete em um som amadurecido e refinado, embora a essência experimental permaneça intacta.
O álbum se inicia com "Free Salamander in Two Worlds," uma peça que se refere ao livro Ishi in Two Worlds de Theodora Kroeber, mas com licenças poéticas e metáforas que transformam o conceito em algo próprio da banda. A canção evoca a biografia de Ishi, o último membro conhecido da tribo Yahi, cuja vida foi marcada por eventos dramáticos que ecoam na história de seu povo. Musicalmente, a peça se desenvolve com linhas melódicas intricadas e que são sustentadas por uma dinâmica instrumental muito bem ornamentada. Os vocais, quando acionados, são sombrios e evocam uma sensação de luto profundo, criando uma atmosfera que transborda riqueza harmônica.
"Fanfare for the Last Human Being," uma das faixas curtas do álbum, com pouco mais de um minuto e meio, é uma peça instrumental que destaca o violino de Carla Kihlstedt em uma fusão de folk tradicional e uma aura sombria. Mesmo em sua brevidade, a faixa é capaz de envolver o ouvinte em uma tapeçaria sonora rica e texturizada, demonstrando a habilidade da banda em criar momentos de grande intensidade emocional com poucos elementos. "El Vivo" é uma faixa que encapsula as estranhezas que definem o som da banda. Enquanto alguns podem acolher essas peculiaridades, outros podem achar difícil conectar-se com elas. A construção intrincada da canção é desafiadora, mas é impossível permanecer indiferente a ela. Kihlstedt oferece ataques tempestivos de violino, brilhantemente acompanhados por guitarras industriais e uma seção rítmica opulenta. Os vocais são apavorantes, criando uma experiência auditiva intensa que desafia e recompensa os ouvintes dispostos a se aventurar por esse território.
"Bells for Kith and Kin" segue com uma transição habilidosa dos sinos que encerram a faixa anterior. Com pouco mais de um minuto e meio, essa peça é um interlúdio reflexivo que ressoa como uma prece musical, proporcionando um contraste intrigante com as faixas mais intensas do álbum. "Silverfish" traz a voz melancólica e sombria de Carla, que guia o ouvinte através de uma atmosfera etérea, quase ritualística, onde o violino cria uma paisagem sonora taciturna e encantadora. A música se desenrola como um ritual espiritual, onde luz e escuridão se entrelaçam em uma dança complexa de sons e emoções.
"S.P.Q.R." é uma peça que evoca o império romano em seu título, que é uma sigla para Senatus Populusque Romanus. Musicalmente, é uma celebração do virtuosismo e da energia caótica, além da capacidade da banda de criar paisagens sonoras que desafiam a normalidade. Apesar de frenética, a faixa possui uma atmosfera ritualística que transporta o ouvinte para um ato cerimonial de pura intensidade. "We Must Know More" destaca-se por sua orquestração peculiar, onde tuba e trombone, instrumentos mais associados à música clássica, assumem o protagonismo em um cenário circense macabro. A ausência de guitarra e baixo não diminui a intensidade da faixa, que subverte o convencional e reinventa a musicalidade da banda. Os vocais de Nils Frykdahl soam como reprimendas, adicionando uma camada de tensão ao clima já denso da música.
"The Gift" é uma imersão nos reinos mais vanguardistas do rock progressivo, uma faixa que se distingue por seus ataques raivosos, tanto instrumentais quanto vocais. A intensidade da peça é simultaneamente inflamável e intransigente, enquanto as passagens sombrias preenchem os intervalos entre as explosões instrumentais viscerais. Esta faixa deixa uma impressão duradoura naqueles dispostos a explorar sua complexidade. "Hush, Hush" reintroduz a voz frágil e sussurrante de Kihlstedt, que guia a faixa através de uma construção gradativa, culminando em uma explosão instrumental onde o riff da guitarra se destaca. Após a sequência metálica, a música silencia novamente, permitindo que Kihlstedt retome o controle com uma habilidade ímpar. O vídeo da faixa, disponível no YouTube, é uma experiência audiovisual assombrosa, refletindo a capacidade da banda de provocar desconforto deliberado em cada frame.
"Save It!" é uma faixa que, apesar de curta, entrega uma explosão de criatividade e intensidade. Com menos de três minutos, a música mistura influências do rock progressivo de vanguarda em uma coreografia musical frenética e imprevisível e que desafia categorizações, além de oferecer uma experiência sonora inovadora. "Burn Into Light" é impetuosa, enérgica e complexa, equilibrando o cativante e o assustador em uma experiência multissensorial. O vídeo que acompanha a faixa eleva-a de um experimento musical para uma narrativa de horror visual, completando a experiência sonora com um caos mágico que se desenrola diante dos nossos olhos.
"Old Grey Heron" é a primeira faixa do álbum que eu recomendaria a alguém menos familiarizado com o som da banda. Embora menos experimental, ainda carrega a atmosfera sombria que permeia todo o disco, com menos vanguardismo, mas sem perder a essência da banda. A introdução de uma trombeta, ainda que tímida, é uma surpresa agradável em uma faixa que poderia ser considerada audaciosa por muitas bandas, mas que aqui se apresenta como uma das mais acessíveis. "Rose-Colored Song" encerra a jornada com uma peça que começa de forma quase alegre, mas que gradualmente se transforma em algo cada vez mais sombrio e aterrador. É um final que confirma a posição do Sleepytime Gorilla Museum como uma força criativa única e excepcional no movimento vanguardista do rock progressivo.
Ao ressurgir com Of The Last Human Being, o Sleepytime Gorilla Museum não apenas retorna ao cenário musical, mas o faz de maneira magistral. Desafiando fronteiras e explorando territórios inexplorados, o grupo demonstra uma vitalidade renovada, provando que a passagem do tempo não diminuiu sua audácia artística. Este retorno é mais do que um simples lançamento de disco, mas uma celebração da resiliência criativa e da contínua busca por novas fronteiras musicais.
================================Within the realm of progressive rock, Sleepytime Gorilla Museum stands out as an experimental and avant-garde rock band whose musical approach is undeniably challenging and unconventional, which might make it inaccessible to a broader audience. If you're the kind of listener who prefers more familiar and conventional sounds, this review, enthusiastic as it may be, might not convince you to listen to this album all the way through. The tendency might be to skip from track to track, even the two shorter pieces, each just a minute and a half long. I hope I'm exaggerating, but this is a fair warning.
Formed in 1999 in Oakland, California, Sleepytime Gorilla Museum has established itself as a unique entity in the music scene, blending a wide range of influences into an unmistakable artistic expression. Their live performances are as elaborate as their compositions, transcending the traditional rock show format and incorporating elements of theatrical performance that elevate the spectacle to another level. Additionally, the group adds an extra layer of complexity with possibly fictional narratives inspired by Dadaist artists and mathematicians, creating a lyrical environment as enigmatic as their music.
After a 13-year hiatus, the band's return with the album Of The Last Human Being on February 1, 2024, was a real event. I was surprised myself, as the band had ceased its activities since 2011, leading many to believe they had come to an end. However, their return not only reactivated their fan base but also brought forth an album that, in many ways, feels like a natural extension of their previous work.
During my research, I discovered that the band started working on Of The Last Human Being back in 2011, which explains why the album sounds like an organic continuation of its predecessor. Those who already appreciated the band's sound will likely continue to do so, while those who never connected with the group's approach may remain equally disconnected. However, the continuity does not prevent the album from surprising. Over its 65 minutes, Of The Last Human Being offers a sonic journey filled with intriguing moments.
The group's lineup remains the same since the release of In Glorious Times in 2007: Nils Frykdahl (guitar and vocals), Carla Kihlstedt (violin, percussion, guitar, bass, harmonica, and vocals), Michael Mellender (guitar, xylophone, trumpet, percussion, and vocals), Dan Rathbun (bass, dulcimer, and vocals), and Matthias Bossi (drums, glockenspiel, xylophone, piano, and backing vocals). This 17-year cohesion is reflected in a matured and refined sound, though the experimental essence remains intact.
The album opens with "Free Salamander in Two Worlds," a piece that references Theodora Kroeber's book Ishi in Two Worlds, but with poetic licenses and metaphors that transform the concept into something uniquely the band's own. The song evokes the biography of Ishi, the last known member of the Yahi tribe, whose life was marked by dramatic events that resonate with the history of his people. Musically, the piece develops with intricate melodic lines supported by a highly ornamented instrumental dynamic. The vocals, when deployed, are dark and evoke a deep sense of mourning, creating an atmosphere that overflows with harmonic richness.
"Fanfare for the Last Human Being," one of the album's shorter tracks, just over a minute and a half, is an instrumental piece that highlights Carla Kihlstedt's violin in a fusion of traditional folk and a dark aura. Even in its brevity, the track manages to envelop the listener in a rich and textured sonic tapestry, demonstrating the band's ability to create moments of great emotional intensity with few elements. "El Vivo" is a track that encapsulates the quirks that define the band's sound. While some may embrace these peculiarities, others may find it difficult to connect with them. The song's intricate construction is challenging, but it is impossible to remain indifferent to it. Kihlstedt delivers tempestuous violin attacks, brilliantly accompanied by industrial guitars and a sumptuous rhythm section. The vocals are terrifying, creating an intense listening experience that challenges and rewards those willing to venture into this territory.
"Bells for Kith and Kin" follows with a skillful transition from the bells that close the previous track. At just over a minute and a half, this piece is a reflective interlude that resonates like a musical prayer, providing an intriguing contrast to the album's more intense tracks. "Silverfish" brings Carla's melancholic and dark voice, guiding the listener through an ethereal, almost ritualistic atmosphere, where the violin creates a somber and enchanting soundscape. The music unfolds like a spiritual ritual, where light and darkness intertwine in a complex dance of sounds and emotions.
"S.P.Q.R." is a piece that evokes the Roman Empire in its title, which is an acronym for Senatus Populusque Romanus. Musically, it is a celebration of virtuosity and chaotic energy, as well as the band's ability to create soundscapes that challenge normality. Despite its frenetic pace, the track possesses a ritualistic atmosphere that transports the listener to a ceremonial act of pure intensity. "We Must Know More" stands out for its peculiar orchestration, where the tuba and trombone, instruments more associated with classical music, take center stage in a macabre circus-like setting. The absence of guitar and bass does not diminish the track's intensity, which subverts the conventional and reinvents the band's musicality. Nils Frykdahl's vocals sound like reprimands, adding a layer of tension to the already dense atmosphere of the music.
"The Gift" is an immersion into the most avant-garde realms of progressive rock, a track distinguished by its raging attacks, both instrumental and vocal. The intensity of the piece is simultaneously flammable and uncompromising, while the dark passages fill the gaps between the visceral instrumental explosions. This track leaves a lasting impression on those willing to explore its complexity. "Hush, Hush" reintroduces Kihlstedt's fragile and whispering voice, guiding the track through a gradual buildup, culminating in an instrumental explosion where the guitar riff stands out. After the metallic sequence, the music silences again, allowing Kihlstedt to take control once more with unparalleled skill. The video for the track, available on YouTube, is a haunting audiovisual experience, reflecting the band's ability to provoke deliberate discomfort in every frame.
"Save It!" is a track that, despite its brevity, delivers an explosion of creativity and intensity. At less than three minutes, the music blends influences from avant-garde progressive rock into a frenetic and unpredictable musical choreography that defies categorization, offering an innovative sonic experience. "Burn Into Light" is impetuous, energetic, and complex, balancing the captivating and the frightening in a multisensory experience. The accompanying video elevates it from a musical experiment to a visual horror narrative, completing the sonic experience with magical chaos unfolding before our eyes.
"Old Grey Heron" is the first track on the album that I would recommend to someone less familiar with the band's sound. Although less experimental, it still carries the dark atmosphere that pervades the entire record, with less avant-garde flair but without losing the band's essence. The introduction of a trumpet, albeit timid, is a pleasant surprise in a track that could be considered daring by many bands but here stands out as one of the most accessible. "Rose-Colored Song" concludes the journey with a piece that begins almost cheerfully but gradually transforms into something increasingly dark and frightening. It is an ending that confirms Sleepytime Gorilla Museum's position as a unique and exceptional creative force in the avant-garde progressive rock movement.
With the release of Of The Last Human Being, Sleepytime Gorilla Museum not only returns to the musical scene but does so in a masterful way. By challenging boundaries and exploring uncharted territories, the group demonstrates renewed vitality, proving that the passage of time has not diminished their artistic boldness. This return is more than just a new album release; it is a celebration of creative resilience and a continued quest for new musical frontiers.
NOTA: 10/10
Tracks Listing
1. Salamander in Two Worlds (6:31)
2. Fanfare for the Last Human Being (1:31)
3. El Evil (5:45)
4. Bells for Kith and Kin (1:26)
5. Silverfish (7:17)
6. S.P.Q.R. (4:05)
7. We Must Know More (3:36)
8. The Gift (6:11)
9. Hush, Hush (7:45)
10. Save It! (2:59)
11. Burn into Light (5:25)
12. Old Grey Heron (7:24)
13. Rose-Colored Song (5:46)
Ouça, "Hush, Hush"
Within the realm of progressive rock, Sleepytime Gorilla Museum stands out as an experimental and avant-garde rock band whose musical approach is undeniably challenging and unconventional, which might make it inaccessible to a broader audience. If you're the kind of listener who prefers more familiar and conventional sounds, this review, enthusiastic as it may be, might not convince you to listen to this album all the way through. The tendency might be to skip from track to track, even the two shorter pieces, each just a minute and a half long. I hope I'm exaggerating, but this is a fair warning.
Formed in 1999 in Oakland, California, Sleepytime Gorilla Museum has established itself as a unique entity in the music scene, blending a wide range of influences into an unmistakable artistic expression. Their live performances are as elaborate as their compositions, transcending the traditional rock show format and incorporating elements of theatrical performance that elevate the spectacle to another level. Additionally, the group adds an extra layer of complexity with possibly fictional narratives inspired by Dadaist artists and mathematicians, creating a lyrical environment as enigmatic as their music.
After a 13-year hiatus, the band's return with the album Of The Last Human Being on February 1, 2024, was a real event. I was surprised myself, as the band had ceased its activities since 2011, leading many to believe they had come to an end. However, their return not only reactivated their fan base but also brought forth an album that, in many ways, feels like a natural extension of their previous work.
During my research, I discovered that the band started working on Of The Last Human Being back in 2011, which explains why the album sounds like an organic continuation of its predecessor. Those who already appreciated the band's sound will likely continue to do so, while those who never connected with the group's approach may remain equally disconnected. However, the continuity does not prevent the album from surprising. Over its 65 minutes, Of The Last Human Being offers a sonic journey filled with intriguing moments.
The group's lineup remains the same since the release of In Glorious Times in 2007: Nils Frykdahl (guitar and vocals), Carla Kihlstedt (violin, percussion, guitar, bass, harmonica, and vocals), Michael Mellender (guitar, xylophone, trumpet, percussion, and vocals), Dan Rathbun (bass, dulcimer, and vocals), and Matthias Bossi (drums, glockenspiel, xylophone, piano, and backing vocals). This 17-year cohesion is reflected in a matured and refined sound, though the experimental essence remains intact.
The album opens with "Free Salamander in Two Worlds," a piece that references Theodora Kroeber's book Ishi in Two Worlds, but with poetic licenses and metaphors that transform the concept into something uniquely the band's own. The song evokes the biography of Ishi, the last known member of the Yahi tribe, whose life was marked by dramatic events that resonate with the history of his people. Musically, the piece develops with intricate melodic lines supported by a highly ornamented instrumental dynamic. The vocals, when deployed, are dark and evoke a deep sense of mourning, creating an atmosphere that overflows with harmonic richness.
"Fanfare for the Last Human Being," one of the album's shorter tracks, just over a minute and a half, is an instrumental piece that highlights Carla Kihlstedt's violin in a fusion of traditional folk and a dark aura. Even in its brevity, the track manages to envelop the listener in a rich and textured sonic tapestry, demonstrating the band's ability to create moments of great emotional intensity with few elements. "El Vivo" is a track that encapsulates the quirks that define the band's sound. While some may embrace these peculiarities, others may find it difficult to connect with them. The song's intricate construction is challenging, but it is impossible to remain indifferent to it. Kihlstedt delivers tempestuous violin attacks, brilliantly accompanied by industrial guitars and a sumptuous rhythm section. The vocals are terrifying, creating an intense listening experience that challenges and rewards those willing to venture into this territory.
"Bells for Kith and Kin" follows with a skillful transition from the bells that close the previous track. At just over a minute and a half, this piece is a reflective interlude that resonates like a musical prayer, providing an intriguing contrast to the album's more intense tracks. "Silverfish" brings Carla's melancholic and dark voice, guiding the listener through an ethereal, almost ritualistic atmosphere, where the violin creates a somber and enchanting soundscape. The music unfolds like a spiritual ritual, where light and darkness intertwine in a complex dance of sounds and emotions.
"S.P.Q.R." is a piece that evokes the Roman Empire in its title, which is an acronym for Senatus Populusque Romanus. Musically, it is a celebration of virtuosity and chaotic energy, as well as the band's ability to create soundscapes that challenge normality. Despite its frenetic pace, the track possesses a ritualistic atmosphere that transports the listener to a ceremonial act of pure intensity. "We Must Know More" stands out for its peculiar orchestration, where the tuba and trombone, instruments more associated with classical music, take center stage in a macabre circus-like setting. The absence of guitar and bass does not diminish the track's intensity, which subverts the conventional and reinvents the band's musicality. Nils Frykdahl's vocals sound like reprimands, adding a layer of tension to the already dense atmosphere of the music.
"The Gift" is an immersion into the most avant-garde realms of progressive rock, a track distinguished by its raging attacks, both instrumental and vocal. The intensity of the piece is simultaneously flammable and uncompromising, while the dark passages fill the gaps between the visceral instrumental explosions. This track leaves a lasting impression on those willing to explore its complexity. "Hush, Hush" reintroduces Kihlstedt's fragile and whispering voice, guiding the track through a gradual buildup, culminating in an instrumental explosion where the guitar riff stands out. After the metallic sequence, the music silences again, allowing Kihlstedt to take control once more with unparalleled skill. The video for the track, available on YouTube, is a haunting audiovisual experience, reflecting the band's ability to provoke deliberate discomfort in every frame.
"Save It!" is a track that, despite its brevity, delivers an explosion of creativity and intensity. At less than three minutes, the music blends influences from avant-garde progressive rock into a frenetic and unpredictable musical choreography that defies categorization, offering an innovative sonic experience. "Burn Into Light" is impetuous, energetic, and complex, balancing the captivating and the frightening in a multisensory experience. The accompanying video elevates it from a musical experiment to a visual horror narrative, completing the sonic experience with magical chaos unfolding before our eyes.
"Old Grey Heron" is the first track on the album that I would recommend to someone less familiar with the band's sound. Although less experimental, it still carries the dark atmosphere that pervades the entire record, with less avant-garde flair but without losing the band's essence. The introduction of a trumpet, albeit timid, is a pleasant surprise in a track that could be considered daring by many bands but here stands out as one of the most accessible. "Rose-Colored Song" concludes the journey with a piece that begins almost cheerfully but gradually transforms into something increasingly dark and frightening. It is an ending that confirms Sleepytime Gorilla Museum's position as a unique and exceptional creative force in the avant-garde progressive rock movement.
With the release of Of The Last Human Being, Sleepytime Gorilla Museum not only returns to the musical scene but does so in a masterful way. By challenging boundaries and exploring uncharted territories, the group demonstrates renewed vitality, proving that the passage of time has not diminished their artistic boldness. This return is more than just a new album release; it is a celebration of creative resilience and a continued quest for new musical frontiers.
NOTA: 10/10
Tracks Listing
1. Salamander in Two Worlds (6:31)
2. Fanfare for the Last Human Being (1:31)
3. El Evil (5:45)
4. Bells for Kith and Kin (1:26)
5. Silverfish (7:17)
6. S.P.Q.R. (4:05)
7. We Must Know More (3:36)
8. The Gift (6:11)
9. Hush, Hush (7:45)
10. Save It! (2:59)
11. Burn into Light (5:25)
12. Old Grey Heron (7:24)
13. Rose-Colored Song (5:46)
Ouça, "Hush, Hush"
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