One of my favourite US bands is Minnesota’s own Ovrfwrd , a super-talented quartet whose discography has no Achilles heel. Although all the members are exceptional on their individual instruments, my very first reaction was to marvel at Rikki Davenport’s exuberant and technically sound performances on the drum kit. As we all wait for their next album, the afore mentioned skin beater sent me this side-project for evaluation, which I listened to with intent. Two factors sabotaged my effort at reviewing and posting. The first was due to being completely unprepared for the stylistic difference, as is often the case with successful bands that release side or solo albums, which naturally can have a sonic slant that may wander into unchartered territories. The second was poor timing , a long European holiday followed by an avalanche of review requests, that has not abated yet in 2026. So, who are the three spirits involved anyway ? Well, we know Rikki already, so we have a fellow called Dig on bass and keyboard duties as well as guitarist Par Ljungstrom, who favours a Pat Metheny or even Andy Summers sensibility.
From the very first notes on “Dank One”, its apparent that the style differs from the afore mentioned band, as it comes across as a breezy instrumental escapade with a highly organic sound, the electric guitar forging most, if not all of the lead melodies, the bass and keyboards holding down the backbone, as it is often destined to do, while the drums push it along forcefully, a few cymbal splashes for good measure. The synthesizer spotlight is a definite highlight as well, never seeking potentially off-putting wizardry, but insisting on the mood of the moment.
The gentle psychedelics of “Bin 294” provide an alternative slant as it the most developed piece even though it clocks in at 5 minutes and 15 seconds, and suggests a more groove-oriented outline, the flowing sensibility is immediately tangible on the fluttering guitar splashes, undulating bass buoys and precise percussive pontoons. As a well-crafted segue, “3 Doors” shines a feathered spotlight on the talented guitarist, who is given free reign to improvise as deemed fit, a trembling tone that skirts the edges of jazz-rock, a hint of bluesy despondence that can shift into occasional oblique settlements.
Both “Ding Dong Doodle” and “Memfis” show the trio in full jam mode, the first a podium on which Ljungstrom really lets it rip, a three and a half exercise in playful determination that starts out nimble and serene before slipping into a colossus of thunder and lightning.
The second is a funkier track (as the lightly veiled title may imply) that shines a light on Dig , whose bass work is more than commendable, and the keyboard exuberance is off the charts, a vintage organ leading the way, whilst adding copious doses of synthesizer as well. The fretboard adorns instead of leading; it is there to be the perfect foil for the ivory assault.
Speaking of funk, the Dig bass options out some slapping technique that comes completely out of the blue on the propulsive “Mini Apple”. When the shapeshifting guitar enters the fray, its bleedingly intense, Rikki hitting the cymbals and I was taken back to that Robin Trower-era masterpiece called Bridge of Sighs. If this track had a soulful and expressive singer like James Dewar, it would definitely fit.
Time to lie back and reflect on “Soaked”, a breezy image of a hammock tied between two tress out in some pastoral meadow, in which a relaxed guitarist can experiment with sunshiny moodiness, the warm rays beating down on a smiling face.
Why not attempt some humour while they are at it, and “Gin n Tonic” keeps the refreshment stand busy, Dig the barman pouring some dazzling leads on the synthesizers. The second round has the guitar tearing it up like there is no tomorrow, Rikki pounding as if wielding ice picks (it can be cold in Minnesota).
“8th Day” has a nearly Caribbean feel, keeping the mood bright and sassy. Think an instrumental homage to the Police, as this talented trio could easily pull it off successfully. The Andy Summers reference comes across on the mathematical exuberance displayed on “Gopher It”, with extended melodic notes instead overtly flashy technical prowess, a fitting final touch to an album I enjoyed immensely.
One thing is for sure; these are three very talented dudes. And as far as context is concerned, this debut album is more than worthy of expanding their craft, as they may have a winning formula. A bold combination of vintage heritage with a modern approach. Available on Bandcamp digitally, with CD release to appear very soon. It’s never too late to do a good deed.
4 Ghosts of the Age