Tag: Simen Valldal Johannessen

Review – Airbag – The Century of the Self

“Prepare to embark on an auditory journey like no other as Norwegian prog-rock maestros Airbag unleash their highly anticipated sixth studio album, ‘The Century Of The Self’. Showcasing their trademark fusion of mellow introspection and dynamic energy, from the mesmerising depths of Dysphoria to the haunting crescendo of Tyrants And Kings, each track captivates with irresistible vocal hooks and virtuosic lead guitar work that has become synonymous with the Airbag sound.”

Let me first put in a disclaimer before you read this review, I am a huge fan of Airbag and Bjørn Riis‘ solo work but I will be as objective as I can throughout.

Right, now we’ve got that out of the way, let us begin…

‘The Century of the Self’ is an album that stands as a testament to the artistic vision and enduring creativity that Airbag bring to their music. Touching on themes such as cancel culture and the rewriting of personal histories, it is a reflection on modern society’s zeitgeist, and a poignant commentary of today’s world, which is steeped in fear and condemnation.

Those words really got me excited when I read the promo email that came from the band’s label, Karisma. I have been an admirer of the lush soundscapes created by this wonderful band since I first heard their debut album, ‘Identity’, back in 2009 and they have matured like a fine wine ever since. Their discography of five studio albums prior to this latest release has some absolute gems like ‘All Rights Removed’ and ‘Disconnected’ but every Airbag release is a superb auditory experience.

Let’s cut to the chase, ‘Century of the Self’ is another brilliant album but one that maybe has a more edgier, in your face attitude than the earlier releases. Through its five tracks we go through the whole gammut of powerful, hypnotic bass lines, powerful riffs and thunderous drumming to a lightness of touch and contemplation and everything in between. It is as complete a listening experience as you will get and will excite Airbag fans both old and new.

The slow burning, edgy Dysphoria will keep you on edge with Bjørn Riis‘ coruscating guitar lines and Kristian Hultgren’s superbly metronomic bass lines. Add in the elegant drums of Henrik Bergan Fossum and Asle Tostrup’s hypnotic vocals and we are already onto a winner, this is Airbag turned up to eleven! A standout track on a album of killer tunes, the wonderful Tyrants and Kings ebbs and flows with an elegance and precision that is a joy to hear. Riis’ guitar playing, ably assisted by Ole Michael Bjørndal, is as intense and scintillating as ever and literally stops you in your tracks and Tostrup’s haunting vocal delivery is just a delight. This is Airbag at their magnificent best and it’s a pleasure to hear them delivering songs of such calibre, even after fifteen years together. This is music that you need to listen to with no distractions to get the best from every note and the solo at the end is just about damn perfect! I spoke about a lightness of touch and contemplation earlier and that is what you get on the wistfully refined Awakening, a song that just dances lightly over your emotions and leaves a feeling of calmness and joy in your heart. Asle Tostrup delivers a near perfect vocal performance full of pathos, passion and poignancy, “Wake up and feel again…” a line that says so much. The guitar is ethereal and contemplative, breaking out into a plaintive and ardent solo that really touches your heartstrings. It’s just an exquisite and uplifting piece of music that will really leave its mark on you.

Things get a lot more primeval and edgy with Erase, the stylishly mesmerising bass line and Tostrup’s vocals spellbinding in their delivery and grabbing your attention. The restless, tense atmosphere is created by the terse drum beat and cacophonic guitar riff before the mood gets even more chaotic when Riis opens up with some dissonant and jarring licks and another superb solo that raises the roof. The album closes with the epic conclusion of Tear It Down, fourteen minutes of music that goes from serene introspective self-reflection to some of the most forceful and compelling music that the band have ever written. The track opens with a mellow, reflective vibe that sees synth lines and a ghostly guitar just wash over you, Asle’s voice a soothing presence along with the refined drum beat. Everything then opens up with dynamic and vibrant section that almost raises the hairs on your neck before we return back to the calm serenity of before, the track ebbing and flowing between the two in perfect harmony. A special shout out must be given to Simen Valldal Johannessen whose keyboards on this song are exceptional but you just need to let the music do its work and immerse yourself in the experience, the guitar solo that closes out the track, and the album, is particularly memorable

‘Century of the Self’ is a mesmerising and involving odyssey that elevates you to a musical nirvana that not many artists can create. Airbag are one of those bands that just seem to get better with age and this new release just might be their best album yet, and that’s saying something!

Released 14th June, 2024.

Buy the album from Burning Shed here:

Airbag (burningshed.com)

Or from bandcamp here:

The Century of the Self | Airbag (bandcamp.com)

Review – Oak – The Quiet Rebellion Of Compromise

Oak is a Norwegian progressive pop/rock band that originally emerged from a folk-rock duo. The four members have a diverse background spanning from classical piano to electronica, prog- and hard-rock, with references to the alternative scene as well as progressive rock – something that has combined to make a distinguished and unique sound.

OAK originated as a folk-rock duo, which expanded into today’s lineup of Simen Valldal Johannessen on vocals, piano and keys, Øystein Sootholtet on bass, acoustic and electric guitars, Sigbjørn Reiakvam on drums, percussion, programming, keys and guitars, and Stephan Hvinden on lead, rhythm and slide guitars. 
 

Musically, ‘The Quiet Rebellion of Compromise’ is the most dynamic Oak album so far, with a wide range of influences showing through. We’re still in very familiar Oak territory, but with some sharper edges and some surprising twists and turns. After their previous album ‘False Memory Archive’, the band set out to write some shorter songs for a change – and ended up with their longest songs yet. As on their other albums, there are subtle hints to both past and future songs in the Oak universe.
 
For this album, the band decided to write about an important and touchy subject – Suicide and psychic health in general. Music as an art form can be very open for interpretation, so to be sure that the message comes across, they’ve asked for advice from experienced scholars on the subject. The font used on the album cover is partially made of handwriting from two real suicide notes, to underline the concept.

There’s a deep underlying wistfulness and melancholy to this third album from the band and that’s entirely understandable considering the subject matter. Thoughtful and engrossing, the music is meaningful and contemplative and the lyrics are insightful and hard hitting.

When music is used as a relayer of a serious and often unsettling subject, it can add even more meaning, observation and perception and when that music is as brilliant as it is on a piece of work as exceptional as this, it really does bring home what the band are trying to get across. At times wide screen and cinematic and at others, minimalistic and sparse, ‘The Quiet Rebellion of Compromise’ is a musical masterpiece in inception and delivery.

This is a near perfect collection of songs where every track is a a complete work of art, from the hard-hitting opening trio of the dynamic Highest Tower, Deepest Well, the sparse, plaintive and melancholic Quiet Rebellion and the grandiose, compelling and potent Dreamless Sleep to the epic splendour and pomp of my personal favourite Paperwings, this is an intense and profound emotional journey.

Add in Sunday 8 AM, a beautifully judged near six minutes of music that sees vocalist Simen Valldal Johannessen at his most touching and emotive and the harder edged rock of the charismatic Demagogue Communion and this is a thoughtful, often melancholy, delight of an album and, when you come to the wishful and reflective whimsy of album closer Guest of Honour, it is almost like saying goodbye to a close friend with whom you have had a life changing experience.

Oak have a unique, innovative sound and you can hear it mature and transform on every album they release. Their approach to music is refreshing and sees them deliver meaningful music that has heart and soul and, with ‘The Quiet Rebellion of Compromise’, these talented musicians have created their most accomplished and consummate work yet.

Released 11th November, 2022.

Order the album here:

The Quiet Rebellion of Compromise | Oak (bandcamp.com)


KARISMA RECORDS REVEALS DETAILS AND SINGLE FROM UPCOMING OAK ALBUM.

Karisma Records has announced that the 11th November will be the release date for the third full-length album from Norway’s Progressive Pop/Rockers OAK. Titled “The Quiet Rebellion of Compromise”, it is an album in which the band has decided to write about the important, but controversial , subjects of suicide in particular and mental health in general.

Knowing that music as an art form is very open to interpretation, and knowing how emotive the subject matter is, OAK wanted to be sure that the message comes across clearly, and consequently sought advice from experienced scholars on the matter. 

And, with the release of the single “Dreamless Sleep”,  Karisma Records has given us a first taste from “The Quiet Rebellion of Compromise”.  It can be downloaded or streamed from a variety of services at:

Dreamless Sleep by Oak (karismarecords.no)

OAK originated as a folk-rock duo, which expanded into today’s lineup of Simen Valldal Johannessen on vocals, piano and keys, Øystein Sootholtet on bass, acoustic and electric guitars, Sigbjørn Reiakvam on drums, percussion, programming, keys and guitars, and Stephan Hvinden on lead, rhythm and slide guitars. The fact that OAK’s members come from diverse backgrounds, which range from classical piano, to electronica, to prog and hard rock, with references to both the  alternative scene as well as the progressive rock scene, has  allowed OAK to create a unique sound.

Musically, OAK’s upcoming “The Quiet Rebellion of Compromise” is the band’s most dynamic album yet, demonstrating a wide range of influences. There are some sharper edges, and some surprising  twists and turns to be found amongst the familiar Oak territory. Interestingly, after the release of their previous album “False Memory Archive”, the band set out to write some shorter songs for a change – and ended up with their longest songs yet!

“The Quiet Rebellion of Compromise” was recorded in Ljugekroken and was mixed at the Ghostward Studio by David Castillo (KATATONIA, LEPROUS OPETH, etc.). It was mastered by Tony Lindgren at the Fascination Street Studio, and, as with their other albums, “The Quiet Rebellion of Compromise” offers subtle hints to both past and future songs in the Oak universe.

Tracklisting on “The Quiet Rebellion of Compromise” is as follows: 

1. Highest Tower, Deepest Well

2. Quiet Rebellion

3. Dreamless Sleep

4. Sunday 8 AM

5. Demagogue Communion

6. Paperwings

7. Guest of Honour

“The Quiet Rebellion of Compromise” will be available in CD, Digital and Limited Edition white vinyl formats, and can now  be pre-ordered from:

The Quiet Rebellion of Compromise | Oak (bandcamp.com)

Shop | Karisma Records

The Quiet Rebellion of Compromise by Oak (karismarecords.no)

Review – Oak – False Memory Archive – by Progradar

“Music is probably the only real magic I have encountered in my life. There’s not some trick involved with it. It’s pure and it’s real. It moves, it heals, it communicates and does all these incredible things.”

A poignant quote from the great Tom Petty and one that surely rings true in today’s troubled times. I love the surprise of hearing new music that moves you and takes you to a better place, there truly is nothing better.

Featuring members of both Airbag and the Björn Riis touring bands, Oak is a Norwegian progressive pop/rock band that originally emerged from a folk-rock duo. The four members have a diverse background spanning from classical piano to electronica, prog- and hard-rock, with references to the alternative scene as well as progressive rock – something that has combined to make a distinguished and unique sound. Mixing this with great musical skills and a vision of being accessible to a wide audience resulted in their debut album ‘Lighthouse’ in 2013.

Five years later, they are back with the stunning follow-up ‘False Memory Archive’. A natural continuation from ‘Lighthouse’, to which it has several small nods and references. The album has been meticulously crafted, with more use of electronics and low bass frequencies. It is both darker and groovier than its predecessor, while still sounding familiarly like Oak.

The promo arrived, unassumingly, in my inbox a few weeks ago and it was only because the band’s name triggered some sought of recognition in my mind that I decided to give it an immediate listen.

‘False Memory Archive’ is an incredibly engrossing and memorable listening experience. The opening track We, The Drowned immediately draws you into their dark but satisfying musical world. Simen Valldal Johannessen’s heartfelt vocals drip empathy and pathos and the band’s music just bleeds emotion, I was hooked from the first note.

The album has a feel of the more melancholy side of progressive and alternative music and will inevitably draw comparisons with the likes of Steven Wilson and The Pineapple Thief but these impressive musicians can stand their own ground as can be seen on the wistfully sombre but utterly graceful Clare De Lune. The album is really beginning to strike a chord with me, a wonderfully affectional musical journey that touches your heart an soul.

The darker progressive feel of title track False Memory Archive is countered by the uplifting harmony of the elegant chorus then the sparse, hauntingly pensive Lost Causes just leaves you open mouthed and slack jawed in appreciation with its powerful and yet stark message. It’s an utterly magical piece of music that cements just how good this band truly is.

The delightfully playful classical interlude of Intermezzo is grace and class personified and works like a musical amuse-bouche before the tension is cranked up by the mesmerising dark delights of The Lights, a captivating ten minutes plus of cat and mouse where light and shade intertwine and leave the hairs on the back of your neck rising.

The highs just keep coming, These Are The Stars We’re Aiming For pulsates with energy punctuated by sincere passion and fervor, Transparent Eyes is a plaintive contemplative track that almost rests a comfort blanket over your emotional state and the closing track, Psalm 51, is achingly beautiful, an ethereal joy, a song of longing and of love that brings a tear to your eye and yet joy to your heart.

I have loved music for many years, it has been with me through the highs and the lows  and my life would not be complete without it. My life is now also complete with this incredible album from Oak. Albums like ‘False Memory Archive’ are the reason that music was created in the first place, they bring peace to your soul and joy and love to your heart and the world is a better place for them. I cannot give any higher praise than that.

Released 19th October 2018

Order from bandcamp here (I’ve ordered the vinyl)

 

 

Review – Bjørn Riis – Forever Comes To An End – by Leo Trimming

An Airbag is a device designed to save your life or reduce injury in the event of a collision.

Can music save your life? Who knows?

But life does does bring us in to collisions with all sorts of unexpected events and we try to find ways to survive or at least lessen the impacts. From the sound and themes of Bjørn Riis’ second solo album, ‘Forever Comes to an End’ , it does seem evident that perhaps life has been impacting upon him deeply, reflected in an emotional release. Emotion is not a word usually associated with the sweeping, glacial Floydian soundscapes so beloved of Airbag, but Bjørn Riis has successfully created a more personalised album, infused with fragile feelings and delicate melodies alongside his trademark architectural sonic structures.

Bjørn Riis is the main songwriter and lead guitarist of the Norwegian Progressive rock band, Airbag, and that background is very apparent in the style of this album, although title track Forever Comes to an End does open the album in furious and heavy fashion, exploding into action immediately with Henrik Fossum of Airbag pounding out insistent driving drums. The theme of broken relationships and loss, with musings on the tension between Love and Hate are starkly focused upon in this crunching number: 

‘Fear, Do you Fear, Do you feel the hate…. But I’m scared to let you go out of my life…’

Bjørn Riis contrasts the darker hard riffing passages, reminiscent of Sabbath’s Toni Iommi, with occasional lighter, less intense shafts of musical sunlight, framing impassioned pleas to stay. Vocally Riis delivers this song, and the whole album, with a sense of  beautiful melancholy and yearning. This is powerful stuff in more ways than one. The brief bleak interlude soundscape of Absence atmospherically takes us to the emotive shores of The Waves, seguing with Ocean sounds as Riis intones mournfully :

‘I’ve been down for too long, I almost drowned,

There was darkness all around and it pulled me down to the deep’

In The Waves there is a fragility and emotional intensity in Riis’ voice, akin to Tim Bowness of No-Man, which gives this album a sense of honest emotion and humanity, born from personal experiences, and moves parts of this album away from the now predictable trademark Floyd style so successfully produced by Airbag on their albums. The Waves wistfully fades as the tide of the song recedes with echoes of the cinematic soundscapes of Thomas Newman film scores.

Instrumental Getaway slowly builds and builds, with layers of guitars across a sweeping canvas on synths, until a break of echoing keys and percussion is glided over by an icy guitar line. The driving rock theme returns with added wah-wah guitar, outstanding drums and riffs that more than hint at Porcupine Tree, that all add up to quite a thrilling ride. Calm shimmers with delicate beauty with a simple piano motif and acoustic guitars over lain with flute sounding keys, and then the whole piece eventually drifts away in to the distance, virtually acting as a beautiful introduction into Winter, the centrepiece of the whole album.

A gentle opening adorned with lilting acoustic guitar, over lain with subtle, tasteful  electric guitar dashes in the vein of Marillion’s Steve Rothery, express the contradictory emotional forces of resentment and forgiving, hate and love…

“Now she’s gone, but I still want her here, She stole my heart and she turned it into stone…”

This remarkable piece develops with increasing intensity as Riis builds with beautiful musical textures and Sichelle Mcmeo Aksum adds a female delicacy to the vocals, alongside Riis. The inevitable Gilmour like soaring lead guitar parts are used sparingly but effectively. Riis’ guitar is the main ‘voice’ in Winter as he uses it intuitively to emotionally express probably what words sometimes cannot say about broken relationships. A lovely bass line with uncanny echoes of Porcupine Tree’s classic ‘Dark Matter’ underpins the gradual elegiac disintegration of this great song.

A simple but touching piano melody by Simen Valldal Johannessen introduces Riis’ finely judged emotional vocal in the  final heart-breaking song Where Are You Now. Flute like keyboards float over a gradually building theme before Riis emotively illustrates this emotional song with a glistening, gliding guitar solo. The song and album finishes as Riis’ fragile vocals lead to the simple stark beauty of the opening piano motif. Heart break seldom sounds so beautiful.

There will be inevitable comparisons by some to later Pink Floyd, and fans of that band will find much to admire and touch them in this album. Sonically the production is perfect – this drips with feeling and atmosphere. Some of the songs would also not sound out of place on an Airbag album, which is inevitable considering Riis’ main role in that band. However, there is much more to ‘Forever Comes to an End’ than a Floyd pastiche or just an Airbag album by another name. Riis has really put his heart on the line on this release and such emotion exudes from the imaginative music and heartfelt lyrics on this intensely personal album.

Will this album save your life?

Very probably not, but like an Airbag ‘Forever Comes to an End’ may very well stop you getting a headache (!!) and  will certainly help you deal with the collisions and impacts of what life throws at us.

(Photos of Bjørn by Anita Stostad)

Released 19th May 2017

Order ‘Forever Comes To An End direct from the artist (Europe)

Order ‘Forever Comes To AN End from Burning Shed (UK)

Bjørn Riis – Forever Comes to an End – Released 19th May 2017 on Karisma Records

Airbag co-founder, songwriter and lead guitarist, Bjørn Riis will release his second solo album, ‘Forever Comes to an End’, in May 2017. The album is the follow-up to the highly acclaimed and awarded debut, ‘Lullabies in a Car Crash’.
‘Forever Comes to an End’ feature seven songs, with inspiration from classic rock, prog and movie scores. Bjørn’s unique guitar playing has a centre role, with soaring leads, heavy riffs and beautiful textures.
Lyrically, the album deals with broken relationships and loss and the emotional duality between resentment and forgiving.

The album is very much a tribute to all of Bjørn’s musical influences. From the dark and dirty riffs of Toni Iommi and Zakk Wylde, to the emotional playing of David Gilmour and Steven Rothery. The melodic and sombre voice of Steven Wilson and Tim Bowness and the cinematic landscapes of composers like Thomas Newman and John Barry.

‘Forever Comes to an End’ feature appearances from Airbag’s Henrik Fossum (drums) and Asle Tostrup (programming), Simen Valldal Johannessen from Oak (piano) and Norwegian singer, Sichelle Mcmeo Aksum (vocals).

Norwegian photographer Kjetil Karlsen, has provided the front cover image, taken in beautiful Beisfjord near Narvik in Northern Norway. Design and layout is by Asle Tostrup.

DISCOGRAPHY
“Lullabies in a Car Crash” (CD/VINYL, Karisma Records, 2014)
“Forever Comes to an End” (CD/VINYL, Karisma Records, 2017)

TRACKLIST
1.      Forever Comes to an End
2.      Absence
3.      The Waves
4.      Getaway
5.      Calm
6.      Winter
7.      Where are You Now

Band website: www.bjornriis.com
Label website: www.karismarecords.no