OUTSIDE

Matterhorn is a new project founded by singer Tommy Sebastian Halseth (Atrox, Manes) for which he has brought in Edvin Matthieson (bass, acoustic guitar), Andreas Stunes (drums, keyboards) and some guests (including 8 guitarists!). The result is something which is very polished indeed, with loads of harmony vocals, and it feels very constructed and carefully thought through. That, combined with the somewhat smothering production, has resulted in an album which has some interesting sections, but for large parts feels that it needs more freedom and soul. There is no doubt that Halseth has a wonderful voice, but this just feels too cloying and restrictive.

Looking on PA, here we have an album which has been out for nearly a year, released on a well-known label, yet there is not a single review and only three people have rated it so far. There are times when Matterhorn show some very strong Pink Floyd influences, but there is no real cut through, which is somewhat surprising given that he has been involved in some quite a few bands over the years, mostly with different forms of metal. Here he has softened the approach to appeal to a very different market indeed, but to me he has gone too far, and the result is something which does not contain enough contrast. I am sure there will be plenty who will enjoy this, but all I can really say is that this is not for me.

MATTERHORN alternative rock, vintage prog, Scandinavian folk and the cold, contemplative music of doom; a hint of OAK, EMERALD DAWN, LITTLE ATLAS.

"Outside" begins with a Latin sound and a dark atmosphere on a tortured bass à la KING CRIMSON; we start with dynamic alternative rock when we don't really know what to say; a tempo of gypsy jazz or a thousand and one nights can have its place here; the Andalusian solo is unique and innovative. "Aura Noire" with accordion and trumpet as an intimate intro sets off on a melancholic crescendo where Tommy's voice gives even more intensity, a little like that of Billy Corgan from SMASHING PUMPKINS; sensation of coldness, of warmth with the guitar solo coming to warm your mind, a timeless, contemplative title when you know that it is a title dedicated to his father who died of cancer. "Noise Blanc" continues with a PINK FLOYD-like sound from "Animals" tinged with fruity cold wave, groove, Hammond organ and a mixture of instruments in battle for the end; it's fresh, refreshing. "Aorta" for the longest title and the centerpiece: a gentle rise, a violin by Øyvind Smidt, minimalist percussion, a cold voice like Aaron from MY DYING BRIDE then warm then captivating, a moment of contemplation with this string break, choirs, we are in the heart of a warm pagan celebration; final rise with Tommy and his overwhelming voice, the instruments heat up to a joyful and luminous guitar finale; at this moment I think of a fusion of ANATHEMA, KATATONIA, PARADISE LOST and the crazy rises of MY DYING BRIDE but better since this fusion of genres gives a more accomplished and more recent crucible.

"Last Page" begins the second part of the album with a normal, cold rock rhythm with just an increase in sounds and a piercing bluesy solo, a consensual title which should be played on the radio to add beauty to cars. "Oceana" follows with a beautiful title from the intro through the use of acoustic instruments; a cold and enlightened ballad, I return to the attraction of the musical oxymoron to create an intimate atmosphere, a musical sanctuary to recharge one's batteries from the tumults and other vagaries of life; Gry Anita comes to put her voice helping the lyrics to become even warmer while the slide-guitar solo on the verge of spleen seems to extinguish this bewitching song. "Silhouette" takes on a more vintage feel with resurgences of the BEATLES, a bit of Nick CAVE too for a more pop, more conventional title. "Døden og meg" literally death and me, concludes this album with traditional voices from Norwegian actor Åsmund for a stripped-down title, a ballad, a nursery rhyme from there, a cold and austere instrumentation of KING CRIMSON by Robert FRIPP or PORCUPINE TREE in its primitive phase, just to ask the question if the spacey white at the end is still part of the title.

MATTERHORN slowly works its way into your soul with its carefully arranged compositions (4.5)