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Quando "Fletcher-Munson" começou a brotar das colunas, instalou-se a dúvida se não estaríamos a ouvir algo dos Neurosis ou perante mais um projecto que segue, de forma mais ou menos fiel, as pisadas de Scott Kelly e Cª. De facto, os britânicos Naisian não só devem conhecer bem o trabalho daquela seminal banda como tem nos finados Isis, igualmente, uma das suas principais referências. Este tema de abertura e o seguinte, "Bellicist", bebem tanto dessas fontes que até parece que caíram lá dentro, qual Obélix no caldeirão da poção mágica!... Apesar de bastante competentes, acabam por ser os momentos menos cativantes deste trabalho. Somente ao terceiro tema é que o cenário muda de figura, o quarteto tira a máscara, ganha desenvoltura e mostra ao que vem: sludge com reminiscências ambientais e progressivas! Confuso, não parece? Pois bem, é com "Take Me To The Mountain Dew Mountain" que as coisas começam a ganhar piada, apesar dos nomes dos projectos já mencionados continuarem a pairar sobre as músicas. Um baixo de linhas que roçam quase o funk, aliado a guitarras ora limpas ora sujas e ásperas, como só no sludge sabem ser, numa estrutura musical não muito complexa, mas que habilmente trabalha a dicotomia placidez e raiva, mostram a qualidade destes músicos e dos seus temas. É precisamente nos temas mais longos que a banda ganha uma nova dimensão, espelhada no tema-título, um opus quasi-instrumental que em nada deve ao que já ouvimos por aí dezenas de vezes, que parece fugir quando começa a entranhar e regressa com um violino oscilante entre o épico e o dramático e aquelas guitarras hipnóticas, desaparecendo tal como surgiu, reaparecendo carregando aos ombros uma qualquer ambiência digna do post-metal.
Para o fim, a síntese desta experiência de quase 40 minutos: "I am Eustache Dauger". A mescla do sortido de sons, ambientes, sensações, que nos conduz para um final que nos faz carregar no play novamente.
Se a aposta tivesse sido efectuada apenas nos derradeiros três temas, diríamos que estávamos perante um caso muito sério. Assim, teremos que esperar para confirmar se esta veia criativa se prolonga e afirma os Naisian como mais um projecto a ter em (muita) linha de conta. (13.8/20)
English:
When "Fletcher-Munson" began to sprout up in columns, we settled the question whether we would be hearing something from Neurosis or more before a project that follows, more or less faithfully in the footsteps of Scott Kelly and Co. In fact, the British Naisian not only must be familiar with the work of that seminal band or the deceased Isis, also one of its key references. This opening theme and the next, "Bellicist" drink both of those sources which seem to have fallen inside, which Obelix in the cauldron of magic potion! ...Though competent enough, turn out to be less compelling moments of this work. Only the third theme is that the scenery changes from the figure, the quartet takes off the mask, and shows their work: sludge reminiscent environmental and progressive! Seems confused? Well, it is with "Take Me To The Mountain Dew Mountain" that things begin to take a joke, though the names of the projects already mentioned continue to hover over the songs.
With a bass guitar work that almost touch funk, sometimes combined with clean guitars sometimes dirty and ragged, just like the sludge you know to be, in a musical structure is not very complex, but it cleverly works the dichotomy calmness and anger, show the quality of these musicians and of its themes.
It is precisely the themes that longer the band gains a new dimension, reflected in the title song, an instrumental opus that in no way due to what we've heard around a dozen times, that seems to escape when it begins to seep into and returns with a Violin oscillating between epic and dramatic and those hypnotic guitars, disappearing as it appeared they touch almost funk, sometimes combined with clean guitars sometimes dirty and ragged, just like the sludge you know to be in a musical structure is not very complex, but it cleverly works the dichotomy calmness and anger, show the quality of these musicians and reappeared carrying on his shoulders an ambience worthy of any post-metal.
To this end, the synthesis of this experience of almost 40 minutes, "I am Eustache Dauger. The mixture of the assortment of sounds, atmospheres, sensations, which leads to an ending that makes us click on play again.
If the bet had been made only in the final three songs, we would say that we were facing a very serious case. So we have to wait to see if this creative streak continues and affirms Naisian as another project to take (much) account. (13.8/20)
English:
When "Fletcher-Munson" began to sprout up in columns, we settled the question whether we would be hearing something from Neurosis or more before a project that follows, more or less faithfully in the footsteps of Scott Kelly and Co. In fact, the British Naisian not only must be familiar with the work of that seminal band or the deceased Isis, also one of its key references. This opening theme and the next, "Bellicist" drink both of those sources which seem to have fallen inside, which Obelix in the cauldron of magic potion! ...Though competent enough, turn out to be less compelling moments of this work. Only the third theme is that the scenery changes from the figure, the quartet takes off the mask, and shows their work: sludge reminiscent environmental and progressive! Seems confused? Well, it is with "Take Me To The Mountain Dew Mountain" that things begin to take a joke, though the names of the projects already mentioned continue to hover over the songs.
With a bass guitar work that almost touch funk, sometimes combined with clean guitars sometimes dirty and ragged, just like the sludge you know to be, in a musical structure is not very complex, but it cleverly works the dichotomy calmness and anger, show the quality of these musicians and of its themes.
It is precisely the themes that longer the band gains a new dimension, reflected in the title song, an instrumental opus that in no way due to what we've heard around a dozen times, that seems to escape when it begins to seep into and returns with a Violin oscillating between epic and dramatic and those hypnotic guitars, disappearing as it appeared they touch almost funk, sometimes combined with clean guitars sometimes dirty and ragged, just like the sludge you know to be in a musical structure is not very complex, but it cleverly works the dichotomy calmness and anger, show the quality of these musicians and reappeared carrying on his shoulders an ambience worthy of any post-metal.
To this end, the synthesis of this experience of almost 40 minutes, "I am Eustache Dauger. The mixture of the assortment of sounds, atmospheres, sensations, which leads to an ending that makes us click on play again.
If the bet had been made only in the final three songs, we would say that we were facing a very serious case. So we have to wait to see if this creative streak continues and affirms Naisian as another project to take (much) account. (13.8/20)
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