Sophomore album from this talented Norwegian quartet, formed by two members of Krokofant, the recent ‘enfant terrible’ of the Norse scene, guitarist extraordinaire Tom Hasslan aka Zappa Finger and Axel Skalstad aka Pheel the Collins on the drum kit. They are complemented by Wizrd keyboardist Vegard Lien Bjerkan aka Wake(up the)man and finally from the band Red Kite, Trond Frones aka Geezer Jeezus playing the bass only on the sabbath. And who dares to say that Scandinavians have no sense of humour, have you not heard of the Finn funny man Ismo? Their eponymous 2022 debut caused a stir, but this latest release has a distinguishing inclination veering towards a Focus influence that shows up between all four players at times, as well as collectively. This band lets loose in intense jam mode, a yearning to have fun in the studio and let the chips fall where they may. The gorgeous cover art certainly satisfies the visual senses.
Hinting humbly at the legendary British band led by Andy Latimer “Camel“ certainly underlines the melodic spirit behind that band, the pearly keys and bustling rhythm section settling into a robust groove, the idyllic platform for the electric guitar to begin soaring across the sonic dunes. Whereas the master was famous for long sustained emotional notes, here Hasslan lets it rip with a blistering array of rapid-fire salvos, leaning towards the more focused (sic) standard that will make up the album. The e-piano section is a glittering oasis of sundrenched streaks, a mirror in the desert showing the way to liquid salvation.
Channeling his innermost Jan Akkerman fantasy on “Pocus”, Hasslan goes properly berserk on his 6-string implement with a tour de force homage (two French words creeping into the verbiage-another Gallicism!), though Bjerkan chooses a decidedly jazzier piano and e-piano route on his ivories, while the rhythm section perfectly salutes the Ruiter-Van der Linden attack. Starting out in a breezy lilt with a clavinet introduction, the build-up gradually goes tornado (Happy Birthday Bill Bruford) with a blizzard of peaks and valleys, playfully gathering steam with some patented flurries that recall the finer moments of the Focus 3 album.
“Focus” keeps the foot on the cyclist pedal with a gentler foray into more bucolic workings, that swoon unashamedly into Metheny territory, the finger technique is bewilderingly accurate, mastering both leads, riffs, and flicks of the wrist, just like Jan did and still does today in his golden years. The comprehensive synth solo is quite the skidding workout, with enough shape and bend to thrill the most passive listener. It becomes apparent that the main underlying attribute of this quartet is plain old fun, jamming like there is no care in the world.
Written like this “Oh Jimi”, it can only refer to Hendrix , as the spelling ‘Jimi’ has been permanently retired to the rafters, after he died on September 18, 1970. Kicking into a medieval tinged Jon Lord sounding organ surely ruffles the feathers, injecting the electric guitar with bluesy dexterity, as the pace slows to a grind, and the steady groove is set as the ideal gliding platform on which Hasslan can stretch, steal and borrow those characteristic moaning lines that made Jimi such a legend. A ten-minute rocking roller coaster ride is set in motion with just enough personality to dismiss any overt copycat urges, the keyboard spotlight doing wonders for the atmosphere as well as transitioning into varied mood swings that augur well for the explosive finale, where a Mahavishnu Orchestra -like feel shatters all the illusions.
I enjoyed the debut, but this is a much higher raised bar, easily reached without steroid enhancers or blood packing, just a more focused (oops!) approach that had the courage to add another iconic figure as a final coup de grace. Well played and totally unpretentious.
4.5 concentrations
