Another band that desperately needs attention in terms of positive reviews is this Norwegian symphonic instrumental combo whose career has been nothing short of genius, with highly rated works that have made an impact in Progland (I have all four albums and love them all!). Essentially a talented trio since day one, back in 2017, featuring Odd-Roar Bakken on guitars and keyboards, bassist Nils Larsen and Anton Larsen on the drumkit, offering zero vocals to their visionary and philharmonic prog suites that sonically paint vivid soundscapes that encourage drifting into dreamland. The cinematographic tracks are elongated affairs that are structured in such a manner as to keep the arrangements in constant progression mode, spanning a variety of styles, from pastoral acoustic, to bombastic symphonics, as well as Scandinavian folk elements in that inimitable tone. Lengthy soloing on both guitar and keys elevate the passion to glorious levels.
The adventurous “Sendebud Fra Vest” elegantly unveils a bucolic setting, guided by some masterful acoustic guitars, organ underpinning, a delicate flute joining in perfectly, combine to entrance the listener into an ethereal universe. When the swaying bass and the drums kick into gear, its only to establish the platform for a prolonged and shimmering electric guitar solo. The transition to a rather unexpected Japanese sounding theme stimulates the mood further, violin orchestrations taking over diligently, a perfect Celtic variation for another protracted fretboard incursion, synths allied in the effort, and crashing cymbals notwithstanding. Acoustic guitar resumes the initial medieval thematic that just keeps rising to a higher plane, influenced by a pushy organ, a rousing Larsen bass intrusion and a swerving synthesizer melody that unites them all. Brother Anton ups the ante on the percussive side, leading the arrangement into a mellow jazzy ride, the bass and piano in full regalia before finalizing this epic 17 minute+ ride with a final pastoral curtsy.
Scandinavian folk involves a fair amount of mythical forest creatures and “Huldras Hale” beginning cautiously and naively perhaps with some sweet low-key meanderings, the seductive keyboards carrying most of the load. Its just the opening stages of a spirited adventure that seems to explode out of nowhere, a communion of spirits that expands into that broiling organ sound once again, the jolting rhythm picking up steam, hauntingly crisp and magical like the Norse winds. The electric guitar smoothly enters the discourse, restrained at first as it seeks to construct a build-up of emotions, confiding in the piano and the rhythmic pulse to move forward. The stirred-up organ seems to be the catalyst for the more rousing outcomes, ultimately passing the baton to a sprinting synth line that hauls the others along for the ride. The elastic bass and lavish piano work in tandem to shift into a different sidebar, a melancholic pool of feudal revelry, at times forlorn and taciturn, a classic Norse characteristic if there ever was one. A riveting guitar solo finally screeches in through the clouds to simply slay the beast. Tragically beautiful music.
The aural camera keeps filming in the deepest forest on “Den Dype Skogen”, an astute collage of contrasts, the cold and warm realms that only Mother Nature can create in all her glory. Cottony softness, velvet layers and satin sheen are delivered through a variety of acoustic elements, a church organ blending in to veer the atmosphere towards a more solemn reality, where the percussive side percolates, the burly bass slicing into stormier gales, and more complex movements abound. When the exuberant Bakken guitar decides to screech, it does so unapologetically. This collision of heavy and light is utterly fascinating throughout the composition, even when the transitions forge new pathways through the lush timberland. The expert orchestrations excel in creating the springboards necessary to keep the flow unremitting. Both the organ and guitar underline the melody that was there all along, blossoming finally into a pipe organ flourish to settle the score.
Kornmo opts for a more experimental mission on “Altets Hav”, a 9 minute+ keyboard festival that chains together a plethora of vintage sounds, the spotlight on synthesizer and churning organ carving out the melody, repeated by the guitar and violin resonances. Ultimately, the mood gets chaotic, almost dissonant, frenetic and almost schizoid before falling back on a jazz lounge feel that showcases the opposite extreme, verging on a serenade. Electric guitar rages just enough to keep the tension on full alert, before sweeping into a fluttering synthesizer extension that had classic Camel all over it.
Like any worthy epilogue, “Ly (Vuggesang)” retraces the rustic sense that opened the curtain on this magnificent ride. Acoustic guitar and organ connect their efforts to evoke a distant past, a time when longships unleashed their sails and sent the valiant Norsemen on their epic oceanic voyages around the globe. Effortlessly melodic, imaginative beyond the normal prog boundaries, the flute sounds submit the soul to profound introspection, the guitar caressing the heart, the orchestrations laying down the foundations to search for dreamland. A much-needed panacea in our current, unusually troubled world. One of the most soothing tracks I have heard in many a decade.
Instrumental music played by gifted and passionate performers, who let their musical tools do all the messaging needed.
5 Glittering auroras
