Existirá vida após a morte? Haverá vida inteligente em outro planeta? Assim como essas questões filosóficas e existenciais que nos acompanham, outra pergunta comum no universo do rock progressivo é: Existe Yes sem Jon Anderson? A resposta para as duas primeiras perguntas pode ser incerta, mas em relação à última, o álbum Drama responde de maneira decisiva.
O disco apresenta uma nova formação: Chris Squire, Steve Howe e Alan White permanecem, enquanto Geoff Downes assume os teclados e Trevor Horn os vocais. Desde o início, a mudança é perceptível. Downes, com seu estilo energético e moderno, adiciona camadas sonoras que trazem frescor às composições, complementando o espírito progressivo da banda com toques que prenunciavam a década de 1980.
Trevor Horn, por outro lado, tinha a difícil tarefa de preencher o vazio deixado por Jon Anderson. Embora sua voz lembre a de Anderson em vários momentos, ele não alcança as notas altas com a mesma facilidade, especialmente ao vivo, além de que às vezes soa forçado. No entanto, seria injusto desmerecer sua contribuição. Assumir os vocais em uma banda tão icônica como o Yes exigiu coragem, e Horn trouxe uma atitude diferenciada, que, em muitos momentos, funcionou a favor da música.
Drama abre com "Machine Messiah", uma faixa que imediatamente surpreende com o peso da guitarra de Steve Howe, acompanhada pela seção rítmica precisa de Squire e White. A música se desenvolve com uma mudança de tempo significativa, incorporando teclados etéreos e ótimos vocais de Horn. A presença de Geoff Downes se destaca, preenchendo o espaço sonoro com precisão, mas sem nunca dominar a cena. O solo de guitarra antes da primeira seção acústica e a dinâmica da seção rítmica são exemplos perfeitos de como essa nova formação conseguiu criar algo dinâmico e cativante.
Apesar de curta, com menos de um minuto e meio, "White Car" funciona como uma pausa orquestrada e elegante entre faixas mais longas, sem perder o espírito do álbum. A seguir, "Does It Really Happen?" é uma peça pop bem-humorada que destaca o baixo pulsante de Squire e os teclados vibrantes de Downes. Baixo e bateria impulsionam a faixa em um ritmo envolvente, enquanto os vocais de Horn soam mais seguros e agradáveis. "Into the Lens" é uma música intrigante, onde os vocais de Horn mostram sua versatilidade, mas as letras e o refrão repetitivo podem ser um pouco irritantes. No entanto, instrumentalmente, a faixa brilha com um trabalho sólido de guitarra e teclados, ainda que em uma estrutura mais simples e menos progressiva do que os fãs poderiam esperar.
"Run Through the Light" talvez não seja impressionante à primeira vista, mas esconde belas passagens acústicas e de teclado, além de melodias vocais agradáveis. Novamente, o baixo de Squire se destaca, elevando a música a um nível mais interessante. Por fim, "Tempus Fugit" encerra o álbum com estilo. Esta faixa mostra que os maiores destaques de Drama estão em suas extremidades. A seção rítmica é impecável, com uma guitarra vibrante e teclados sutis que se encaixam perfeitamente. Em termos de complexidade, é o ápice do álbum, e sempre deixa a impressão de que poderia ter sido expandida em um épico, em vez de uma faixa de pouco mais de cinco minutos.
Para qualquer fã de Yes com uma mente aberta, Drama é uma adição essencial à coleção. Embora não alcance as alturas dos álbuns mais conceituados da banda, é uma obra digna que merece reconhecimento por sua individualidade e inovação dentro do catálogo da banda. Ele mostra que mesmo sem Jon Anderson, a essência do Yes podia ser adaptada e explorada de novas maneiras, resultando em um álbum que, embora subestimado, tem seu valor e lugar na prateleira de qualquer amante do rock progressivo.
================================Is there life after death? Is there intelligent life on another planet? Just like these philosophical and existential questions that have accompanied humanity, another common question in the world of progressive rock is: Can there be a Yes without Jon Anderson? The answers to the first two questions may be uncertain, but when it comes to the last one, the album Drama provides a decisive response.
The album showcases a new lineup: Chris Squire, Steve Howe, and Alan White remain, while Geoff Downes takes over keyboards and Trevor Horn steps in as the vocalist. From the outset, the change is palpable. Downes, with his energetic and modern style, adds sonic layers that bring a fresh vibe to the compositions, complementing the band's progressive spirit with touches that foreshadowed the 1980s.
Trevor Horn, on the other hand, had the daunting task of filling the void left by Jon Anderson. While his voice resembles Anderson's at several moments, he doesn’t hit the high notes with the same ease, especially in live performances, and at times, his vocals can sound strained. However, it would be unfair to dismiss his contribution. Taking on the role of lead singer in such an iconic band as Yes required courage, and Horn brought a distinctive attitude that, in many instances, worked in favor of the music.
Drama opens with "Machine Messiah", a track that immediately surprises with the weight of Steve Howe's guitar, backed by the precise rhythm section of Squire and White. The song evolves with significant tempo changes, incorporating ethereal keyboards and excellent vocals from Horn. Geoff Downes' presence is notable, filling the sonic space with precision without ever overshadowing the other elements. The guitar solo before the first acoustic section and the dynamic rhythm section are perfect examples of how this new lineup managed to create something dynamic and captivating.
Despite being short, lasting less than a minute and a half, "White Car" serves as an orchestrated and elegant pause between longer tracks, without losing the album's spirit. Next, "Does It Really Happen?" is a lighthearted pop piece that highlights Squire's pulsating bass and Downes' vibrant keyboards. Bass and drums drive the track with an engaging rhythm, while Horn's vocals sound more confident and pleasing. "Into the Lens" is an intriguing song where Horn's vocals show his versatility, but the repetitive lyrics and chorus can be a bit irritating. However, instrumentally, the track shines with solid guitar and keyboard work, though in a simpler and less progressive structure than fans might expect.
"Run Through the Light" might not be impressive at first glance, but it hides beautiful acoustic and keyboard passages, along with pleasant vocal melodies. Again, Squire's bass stands out, elevating the song to a more interesting level. Finally, "Tempus Fugit" closes the album in style. This track shows that the strongest points of Drama lie in its opening and closing songs. The rhythm section is impeccable, with vibrant guitar work and subtle keyboards that fit perfectly. In terms of complexity, it's the album's peak, always leaving the impression that it could have been expanded into an epic, rather than a track of just over five minutes.
For any open-minded Yes fan, Drama is an essential addition to the collection. Although it doesn't reach the heights of the band's most acclaimed albums, it’s a worthy work that deserves recognition for its individuality and innovation within the band's catalog. It shows that even without Jon Anderson, the essence of Yes could be adapted and explored in new ways, resulting in an album that, though underrated, has its value and a rightful place on the shelf of any progressive rock lover.
NOTA: 6.5/10
Tracks
Listing:
1.
Machine Messiah (10:27)
2. White Car (1:21)
3. Does It Really Happen? (6:34)
4. Into the Lens (8:31)
5. Run Through the Light (4:39)
6. Tempus Fugit (5:14)
Ouça, "Tempus Fugit"
Is there life after death? Is there intelligent life on another planet? Just like these philosophical and existential questions that have accompanied humanity, another common question in the world of progressive rock is: Can there be a Yes without Jon Anderson? The answers to the first two questions may be uncertain, but when it comes to the last one, the album Drama provides a decisive response.
The album showcases a new lineup: Chris Squire, Steve Howe, and Alan White remain, while Geoff Downes takes over keyboards and Trevor Horn steps in as the vocalist. From the outset, the change is palpable. Downes, with his energetic and modern style, adds sonic layers that bring a fresh vibe to the compositions, complementing the band's progressive spirit with touches that foreshadowed the 1980s.
Trevor Horn, on the other hand, had the daunting task of filling the void left by Jon Anderson. While his voice resembles Anderson's at several moments, he doesn’t hit the high notes with the same ease, especially in live performances, and at times, his vocals can sound strained. However, it would be unfair to dismiss his contribution. Taking on the role of lead singer in such an iconic band as Yes required courage, and Horn brought a distinctive attitude that, in many instances, worked in favor of the music.
Drama opens with "Machine Messiah", a track that immediately surprises with the weight of Steve Howe's guitar, backed by the precise rhythm section of Squire and White. The song evolves with significant tempo changes, incorporating ethereal keyboards and excellent vocals from Horn. Geoff Downes' presence is notable, filling the sonic space with precision without ever overshadowing the other elements. The guitar solo before the first acoustic section and the dynamic rhythm section are perfect examples of how this new lineup managed to create something dynamic and captivating.
Despite being short, lasting less than a minute and a half, "White Car" serves as an orchestrated and elegant pause between longer tracks, without losing the album's spirit. Next, "Does It Really Happen?" is a lighthearted pop piece that highlights Squire's pulsating bass and Downes' vibrant keyboards. Bass and drums drive the track with an engaging rhythm, while Horn's vocals sound more confident and pleasing. "Into the Lens" is an intriguing song where Horn's vocals show his versatility, but the repetitive lyrics and chorus can be a bit irritating. However, instrumentally, the track shines with solid guitar and keyboard work, though in a simpler and less progressive structure than fans might expect.
"Run Through the Light" might not be impressive at first glance, but it hides beautiful acoustic and keyboard passages, along with pleasant vocal melodies. Again, Squire's bass stands out, elevating the song to a more interesting level. Finally, "Tempus Fugit" closes the album in style. This track shows that the strongest points of Drama lie in its opening and closing songs. The rhythm section is impeccable, with vibrant guitar work and subtle keyboards that fit perfectly. In terms of complexity, it's the album's peak, always leaving the impression that it could have been expanded into an epic, rather than a track of just over five minutes.
For any open-minded Yes fan, Drama is an essential addition to the collection. Although it doesn't reach the heights of the band's most acclaimed albums, it’s a worthy work that deserves recognition for its individuality and innovation within the band's catalog. It shows that even without Jon Anderson, the essence of Yes could be adapted and explored in new ways, resulting in an album that, though underrated, has its value and a rightful place on the shelf of any progressive rock lover.
NOTA: 6.5/10
Tracks
Listing:
1.
Machine Messiah (10:27)
2. White Car (1:21)
3. Does It Really Happen? (6:34)
4. Into the Lens (8:31)
5. Run Through the Light (4:39)
6. Tempus Fugit (5:14)
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