Saturday, December 1, 2012
The band further increases its share of theatricality and leads to a level that goes beyond the music, translating this into his live, because with the launch of this board Peter Gabriel was starting out on stage dressed facing numerous multifaceted characters and interspersed even within the same subject in one of the cases, such as in Supper's Ready, as if the deployment of mastery and brilliance that transmitted aurally with that court was not already too dazzling alone.
The curtain rises the wonderful Watcher of the Skies, a topic with a lot of potential, announcing the opening of the play with a mellotron gives supreme airs. The song is the most robust and accurate, with bitter dark overtones, but sublime.
Time Table is even better, a love song for his pace and excellent and outstanding performance of Peter Gabriel, showing off and excelling in a dramatic and poignant at the same time. The chorus is the best and it's hard not to try to corearlo. The passages of Tony Banks on keyboards shine.
The thing going to become more intense with Get Em Out by Friday, curious song that allows Gabriel exhibit their wild and crazy side. Abrupt changes considerably with advancing the theme and instrumental arrangements more complex than capable of misleading anyone in this magnificent piece without waste.
Returns the delicacy and beauty in the melodies with Can-Utility and the Coastliners, a knot of instruments that together form an impenetrable fortress, recreating an atmosphere masterful. Tony Banks returns to capture bright and moderate rhythms Steve Hackett has its fleeting moments.
There comes a time more intimate, delicate disc: Horizons, a tune that was unlikely to Genesis and a considerable simplicity and brevity yet achieved its goal: Wrap and make the listener to travel to the state of deep relaxation. Fulfilling a role Fluff basically the same as in the Sabbath Bloody Sabbath, this issue is a real pleasure to hear, as if the music we coined.
The end is evident and to close the masterpiece we have which is nothing more and nothing less than the best song of Genesis, the vast, unique and brilliant Supper's Ready, an epic piece tinged apocalyptic reflected concerns love and that nothing else can do justice to itself and its grandeur. Praise fall short for this 23-minute suite of enormous complexity where the band reaches the summit and take off in a true journey of sensations and feelings crossed that allows all members of the band shine on his own. The impressive and legendary number moves us restless, makes us laugh, feel euphoria and excitement and even gets to hypnotize all in a flurry of greatness stamped rhythms deployed in a few less than half an hour. Peter Gabriel gets us more than ever and recites some of his most memorable and iconic verses: And it's hello babe with your guardian eyes so blue, Hey my babe do not you know our love is true, A FLOWER?. The issue is so complex and has so much to make juice that is almost impossible to adequately summarize its contents, you can only say that it is extremely emotional, intense, outrageous, energetic and magical.
This is one of the greatest songs of all time, no more.
Foxtrot is one of the largest samples of progressive rock, and its closure can always leave the stamp of quality. This was truly committed Genesis music and with intentions of passing something really big. A timeless gem but simply unrepeatable.