.jpg)
Hatfield and the North foi uma banda que apesar de sua curta existência e de ter lançado apenas dois álbuns, deixou um legado excelente no cenário do rock progressivo. The Rotters' Club, segundo disco da banda, não é apenas uma exibição de talentos, mas uma obra cuidadosamente trabalhada e equilibrada, que oferece uma fusão única de sonoridades. Ele combina a ferocidade do fusion, reminiscentes da Soft Machine, com o humor leve e as linhas suaves características do Caravan, tudo permeado pela assinatura musical inconfundível do banda.
O álbum abre com “Share It,” uma faixa agradável e executada com maestria. O destaque aqui é o trabalho de teclado de Dave Stewart que com um solo inspirado evoca de imediato o espírito da cena de Canterbury. Em seguida, “Lounging There Trying” se destaca pela guitarra de Phil Miller. Embora não seja deslumbrante, a guitarra é um elemento essencial na paleta sonora da música, complementada pelos obbligatos de Stewart, que elevam a composição a um novo patamar.As faixas “(Big) John Wayne Socks Psychology On The Jaw” e “Chaos At The Greasy Spoon” atuam como interlúdios intrigantes. A primeira é uma peça agradável, marcada por um trabalho de teclados robusto e bateria intensa. Já a segunda apresenta uma bateria mais técnica, acompanhada por trompa e guitarra fuzz, criando uma atmosfera única.
“The Yes / No Interlude” é uma peça complexa e cativante, onde a guitarra brilha especialmente nos dois primeiros minutos. A faixa apresenta também uma explosão de trompete e uma bateria em blast beat, criando uma sonoridade densa e por vezes desafiadora. Após os cinco minutos, a música assume uma direção jazzística claramente com a influência de Dave Stewart. Este é sem dúvida um dos pontos altos do disco. “Fitter Stoke Has A Bath” traz uma sonoridade suave e bela, com vocais descontraídos e um refrão melódico que cativa instantaneamente. O trabalho de flauta é um verdadeiro deleite, e após uma seção liderada por belas vocalizações, surge um solo de guitarra que acrescenta uma dose de intensidade à música, sem perder sua doçura essencial. A melodia final transporta o ouvinte para um cenário mais sombrio, encerrando a faixa com maestria.
Curiosamente, apesar de ser fã de Jethro Tull, foi “Didn't Matter Anyway” que despertou em mim o desejo de tocar flauta. Embora as letras da banda nunca tenham sido seu ponto mais forte, aqui elas se destacam, com Richard Sinclair entregando uma performance emotiva em uma despedida tocante e que torna a faixa muito especial. “Underdub” é uma peça instrumental envolvente, servindo como um prelúdio perfeito para o épico que fecha o disco. O trabalho uníssono entre flauta e órgão é sublime.
O álbum culmina com “Mumps,” um épico de mais de vinte minutos que exibe a qualidade musical mais alta alcançada pela banda. A faixa começa com belas vocalizações femininas das Northettes, acompanhadas por notas sutis de guitarra e MiniMoog. Aos dois minutos, uma mudança súbita e intensa traz à tona uma guitarra distorcida, piano elétrico, uma linha de baixo vigorosa e uma bateria sólida. Cada elemento desta música é impecável, desde os riffs impactantes até as harmonias complexas que exigem múltiplas audições para serem plenamente compreendidas. As letras, conhecidas como “Alphabet Song,” podem parecer enigmáticas, mas sua integração na melodia é feita de forma harmoniosa, conferindo à faixa um corpo sonoro bem delineado. As Northettes marcam transições cruciais, criando momentos de transformação musical ao longo da peça. Além de solos de guitarra e teclado excepcionais, há um solo de saxofone por volta dos treze minutos e quarenta, que é acompanhado por uma guitarra ao fundo magistral. Um dos pontos altos da faixa é o riff que surge nos minutos finais. Mumps é um épico monumental, quase inteiramente instrumental e que merece estar entre os grandes épicos da história do rock progressivo.
Assim como em seu álbum de estreia, em The Rotters' Club o Hatfield and the North produziu uma obra que talvez não conquiste imediatamente, mas que sem dúvida, se revela como um dos melhores discos que a cena progressiva de Canterbury tem a oferecer.
================================Hatfield and the North was a band that, despite its short existence and having released only two albums, left an excellent legacy in the progressive rock scene. The Rotters' Club, the band's second album, is not just a showcase of talent but a carefully crafted and balanced work that offers a unique fusion of sounds. It combines the ferocity of fusion, reminiscent of Soft Machine, with the light humor and smooth lines characteristic of Caravan, all permeated by the band's unmistakable musical signature.
The album opens with “Share It,” a pleasant and expertly executed track. The highlight here is Dave Stewart's keyboard work, with an inspired solo that immediately evokes the spirit of the Canterbury scene. Next, “Lounging There Trying” stands out due to Phil Miller's guitar. Though not dazzling, the guitar is an essential element in the music’s sonic palette, complemented by Stewart's obbligatos, which elevate the composition to a new level. The tracks “(Big) John Wayne Socks Psychology On The Jaw” and “Chaos At The Greasy Spoon” serve as intriguing interludes. The former is a pleasant piece, marked by robust keyboard work and intense drumming. The latter features more technical drumming, accompanied by horn and fuzz guitar, creating a unique atmosphere.
“The Yes / No Interlude” is a complex and captivating piece, where the guitar shines especially in the first two minutes. The track also features a burst of trumpet and blast beat drumming, creating a dense and at times challenging sound. After five minutes, the music takes on a jazz direction, clearly influenced by Dave Stewart. This is undoubtedly one of the album's highlights. “Fitter Stoke Has A Bath” brings a smooth and beautiful sound, with laid-back vocals and a melodic chorus that instantly captivates. The flute work is truly delightful, and after a section led by beautiful vocalizations, a guitar solo adds a dose of intensity to the music, without losing its essential sweetness. The final melody transports the listener to a darker scenario, closing the track masterfully.
Curiously, despite being a Jethro Tull fan, it was “Didn't Matter Anyway” that sparked my desire to play the flute. Although the band's lyrics were never their strongest point, here they stand out, with Richard Sinclair delivering an emotional performance in a touching farewell that makes the track very special. “Underdub” is an engaging instrumental piece, serving as the perfect prelude to the epic that closes the album. The unison work between flute and organ is sublime.
The album culminates with “Mumps,” an epic over twenty minutes long that showcases the band's highest musical quality. The track begins with beautiful female vocalizations from the Northettes, accompanied by subtle guitar and MiniMoog notes. At two minutes, a sudden and intense change brings out a distorted guitar, electric piano, vigorous bass line, and solid drumming. Every element of this song is impeccable, from the impactful riffs to the complex harmonies that require multiple listens to fully grasp. The lyrics, known as the “Alphabet Song,” may seem enigmatic, but their integration into the melody is done harmoniously, giving the track a well-defined sonic body. The Northettes mark crucial transitions, creating moments of musical transformation throughout the piece. In addition to exceptional guitar and keyboard solos, there’s a saxophone solo around thirteen minutes and forty seconds, accompanied by a masterful guitar in the background. One of the highlights of the track is the riff that emerges in the final minutes. “Mumps” is a monumental epic, almost entirely instrumental, and deserves to be among the great epics in the history of progressive rock.
Just like in their debut album, with The Rotters' Club, Hatfield and the North produced a work that may not win you over immediately but will undoubtedly reveal itself as one of the best albums the Canterbury progressive scene has to offer.
NOTA: 9/10
Tracks Listing
1. Share It (3:02)
2. Lounging There Trying (3:10)
3. (Big) John Wayne Socks Psychology on the Jaw (0:46)
4. Chaos at the Greasy Spoon (0:30)
5. The Yes No Interlude (7:02)
6. Fitter Stoke has a Bath (7:38)
7. Didn't Matter Anyway (3:03)
8. Underdub (3:55)
9. Mumps (20:06)
Ouça, "Mumps"
Hatfield and the North was a band that, despite its short existence and having released only two albums, left an excellent legacy in the progressive rock scene. The Rotters' Club, the band's second album, is not just a showcase of talent but a carefully crafted and balanced work that offers a unique fusion of sounds. It combines the ferocity of fusion, reminiscent of Soft Machine, with the light humor and smooth lines characteristic of Caravan, all permeated by the band's unmistakable musical signature.
The album opens with “Share It,” a pleasant and expertly executed track. The highlight here is Dave Stewart's keyboard work, with an inspired solo that immediately evokes the spirit of the Canterbury scene. Next, “Lounging There Trying” stands out due to Phil Miller's guitar. Though not dazzling, the guitar is an essential element in the music’s sonic palette, complemented by Stewart's obbligatos, which elevate the composition to a new level. The tracks “(Big) John Wayne Socks Psychology On The Jaw” and “Chaos At The Greasy Spoon” serve as intriguing interludes. The former is a pleasant piece, marked by robust keyboard work and intense drumming. The latter features more technical drumming, accompanied by horn and fuzz guitar, creating a unique atmosphere.
“The Yes / No Interlude” is a complex and captivating piece, where the guitar shines especially in the first two minutes. The track also features a burst of trumpet and blast beat drumming, creating a dense and at times challenging sound. After five minutes, the music takes on a jazz direction, clearly influenced by Dave Stewart. This is undoubtedly one of the album's highlights. “Fitter Stoke Has A Bath” brings a smooth and beautiful sound, with laid-back vocals and a melodic chorus that instantly captivates. The flute work is truly delightful, and after a section led by beautiful vocalizations, a guitar solo adds a dose of intensity to the music, without losing its essential sweetness. The final melody transports the listener to a darker scenario, closing the track masterfully.
Curiously, despite being a Jethro Tull fan, it was “Didn't Matter Anyway” that sparked my desire to play the flute. Although the band's lyrics were never their strongest point, here they stand out, with Richard Sinclair delivering an emotional performance in a touching farewell that makes the track very special. “Underdub” is an engaging instrumental piece, serving as the perfect prelude to the epic that closes the album. The unison work between flute and organ is sublime.
The album culminates with “Mumps,” an epic over twenty minutes long that showcases the band's highest musical quality. The track begins with beautiful female vocalizations from the Northettes, accompanied by subtle guitar and MiniMoog notes. At two minutes, a sudden and intense change brings out a distorted guitar, electric piano, vigorous bass line, and solid drumming. Every element of this song is impeccable, from the impactful riffs to the complex harmonies that require multiple listens to fully grasp. The lyrics, known as the “Alphabet Song,” may seem enigmatic, but their integration into the melody is done harmoniously, giving the track a well-defined sonic body. The Northettes mark crucial transitions, creating moments of musical transformation throughout the piece. In addition to exceptional guitar and keyboard solos, there’s a saxophone solo around thirteen minutes and forty seconds, accompanied by a masterful guitar in the background. One of the highlights of the track is the riff that emerges in the final minutes. “Mumps” is a monumental epic, almost entirely instrumental, and deserves to be among the great epics in the history of progressive rock.
Just like in their debut album, with The Rotters' Club, Hatfield and the North produced a work that may not win you over immediately but will undoubtedly reveal itself as one of the best albums the Canterbury progressive scene has to offer.
NOTA: 9/10
Tracks Listing
1. Share It (3:02)
2. Lounging There Trying (3:10)
3. (Big) John Wayne Socks Psychology on the Jaw (0:46)
4. Chaos at the Greasy Spoon (0:30)
5. The Yes No Interlude (7:02)
6. Fitter Stoke has a Bath (7:38)
7. Didn't Matter Anyway (3:03)
8. Underdub (3:55)
9. Mumps (20:06)
Ouça, "Mumps"
Nenhum comentário:
Postar um comentário