BJØRN LYNNE

Bjørn has certainly been prolific since he moved to the UK from his native Norway in 1995. This is in fact his twelfth album, which puts the work rate of some bands that I could mention very much to shame. He is a multi-instrumentalist and he has very differing styles, according to the theme that he has chosen for the album. This music is quite different to that which can be found on 'Wizard Of The Winds' and 'Wolves Of The Gods' for example, and is totally instrumental. Bjørn has used two guests (one being Ken Senior), but they have each only played a small part on one song ? the rest is all by Bjørn himself.

I found that this is great music to be either playing in the background, or when concentrating on something else. It is definitely very space-like, and there are many repeated themes on the keyboards but Bjørn is also a very strong guitarist and he moves the styles around while never rocking out too much. This is music that the listener can get lost in, creating its own world and I am sure that fans of electronic/progressive are going to love this. There are even sections of songs such as on "Endless Possibilities" that I can envisage being lifted to be used on dance numbers. Bjørn is currently recording music for the animated sci-fi series 'Animation' which is due to hit prime time national television next year. If you want to find out about this or many other good albums then go to the web site at www.lynnemusic.com.

originally appeared in Feedback #70, Oct 02

'Revive' sees Bjorn move away from his recent epic albums to an album that appears much more influenced by bands such as Kraftwerk and Tangerine Dream. Some of the songs, such as "Himalayan Summit (Hightop)", sound as if they could have been edited down and released as a single, albeit nearly twenty years ago. It quite a shift away from his more recent albums, and one that may well ostracise some of his fans as he has moved away from the progressive feel into an area that is much more in the vein of Kraut Rock. There are places, such as in "Moongazer", when the guitar makes an appearance but for the most part this is very highly keyboard dominated. I would much rather listen to 'Wolves Of The Gods' than this, sorry.

Feedback #59, July 2000

This acclaimed Norwegian master musician living in Great Britain has a varied repertoire , some albums being outright Folk inspired and complete masterstrokes (Witchwood and Return to Witchwood), others delving into narrative heavy Fantasy (Wizards of the Wind and Wolves), some early soundtrack stuff as well as some eclectic Space explorations (The Void being the first installment). Firstly, one can only admire an artist that suggests "taking the phone off the hook and turn off the lights" and "enjoying your trip" and then back it up with some riveting interstellar overdrive. Bjorn handles all instruments with incredible accuracy and attention to detail. The intricate synths commune with visceral guitar to fling the listener into the darkest regions of the universe, sometimes languid, sometimes boisterous, shoved mercilessly forward with pummeling bass and some of the finest drum programming ever recorded (yours truly is no fan of synthetic drumming but a few exceptions to the rule do exist!!!) . Why bother giving a track by track breakdown when all the tracks flow effortlessly into the mainstream concept, meandering boldly where only the artistic mind can dare. This is 73 minutes of "proggy bliss" (I love that word) with "Afterglow" in particular grabbing my attention , as well as the rather playful "Dar Shan", as upbeat space can ever get. "Relentless" is another fine relay space station worthy of mention. With this genre, often one is tempted to skip tracks because of a glib sameness but this is not the case here, as the proceedings remain constantly exciting and adventurous. There are no overt clonings here, Bjorn has created a unique style that dismisses needless pinches from the Hillage-Gong- Hawkwind-T Dream- Ozric Tentacles crowd and his guitar relies on a rhythmic style that is original and effective. The electronic soundscapes are also researched rhythmic patterns that wedge together the swirls, the bleeps and the sheets of mellotronish cascades, thus expanding the tonal qualities of his compositions. This is polished stuff one can listen to while painting, writing, dining, driving, hiking, jogging, flying, making love, screwing (hardware kind, sorry), and obviously chilling after another grueling day on the PC. Great music for a modern restaurant too. One of the best Space Rock monuments ever recorded, do not let this one go by and listen to it as prescribed by the artist. 5 glowing asteroids

What a fabulous recording!!! Fans of Anthony Phillips' early guitar stuff and the medieval prog gem Gian Castello's Taliesyn will flock to this brilliant pastoral segue to 1996' "Witchwood" , perhaps even kicking it up a notch. Yeah, I can hear the gnomish grumbles already, " riding the Ring phenomenon" but Tolkien has been around for a long time and after all music is just an adaptation/improvement of something else, done before. Over an hour and 10 minutes of guitar snippets, with a variety of embellishments on cello, flutes but with the added intervention of fluid electric guitar excursions. This is best expressed on the lovely "The Alchemist" featuring the incredible six string contribution of the semi-legendary JJ Boffo, worth the price of admission alone. I initially became a prog addict back in 1970 because I was fascinated by sounds (mini-Moog where are you???) , intrigued by orchestrations (the oh so mellow Mellotron) and my Supper was Ready there and then: a proggie forever. Nothing has changed since: The sheer variety still makes the experience such an adventure! This amazing album (lovely artwork, by the way) is very autumnal, emanating aromas of brisk chills , burnt leaves and cool mists, great to chill after a hard day at work. The word "Witchwood" suits the proceedings to a T. Also can be suggested as a brief respite from the Dream Theater/ Arena/ Rush aural attacks some out there enjoy or even the RIO/Zeuhl/ Satriani excursions others favor. Relax ! 4 Autumn leaves

Sleep inducing

Bjorn Lynne is unquestionably a talented musician. He is a Norwegian multi-instrumentalist, who writes, performs and produces his own albums. While this is highly commendable, it is also where his weakness lies. If he was a member of a band, he would be receiving constant feedback, rejection of his weaker ideas, constructive criticism, and so forth. As it is, that quality control is absent, leading to albums which are well made, but quite simply dull.

"Wizard of the winds" was inspired by a book of that name by author Allan Cole. In the UK, the book was titled "When the gods slept". This album actually features both titles, the CD booklet being reversible allowing either to be displayed. The music, which is entirely instrumental apart from occasional narrations, is not intended to relate the story verbatim but rather to reflect the inspirations Lynne's take from it. Unfortunately, the message appears to be that Lynne found the book to be somewhat single paced and boring, since the music tends to fit this description.

This is new age muzak, it is Mike Oldfield chilling out, it is Bo Hansson attempting to cure his insomnia. There is fine guitar work, and proficient playing of all the various instruments Lynne turns his hand to, but the melodies are uninspired, and unexciting. The pace rarely changes, each successive track picking up from where the previous one left off.

In all honesty I can't even say I find the music relaxing, it just leaves me cold. Lynne clearly loves his craft, and is a gifted musician. Unfortunately though, I can find little here to get even slightly exited about.

My first encounter with Bjorn Lynne's music was on a mediocre video-game named Graal. Several of Lynne's song (Valley of the Clouds, Methydias' Airship) were - legally - used in the game, and these songs always struck me as being terrifying excellent. Bjorn Lynne definitely is something to listen to. I cannot say that this is 'Essential' yet, but Bjorn Lynne is a must to check out. It is possible to download several of the songs, either via the forementioned MMORPG (www.graalonline.com) or on the man's own website.

Although "Colony" is not the most progressive of LYNNE's material, its impeccable production alone is worth the price of the album; its pristine sound, a veritable model of modern technology. But all is not 'flash in the pan", here, as the music on "Colony" rocks high and mighty in addition to producing a mesmerizing array of neon colours in the listener's mind.

Although very atmospheric, it is laden with crunching guitar passages, powerful melodies and 'oomph' bass lines that will test the best speakers/headphones on the market. Some tracks feature pulsating rythms that hit you right in the kisser when you least expect it ("Messages", "Hyperdrive Stimuli" and "No Looking Back"). "Mind of the Visionary" is perhaps the most progressive track as it features a variety of colourful themes and mind-boggling arrangements. As for "One Step to Paradise" (so appropriately named), it will have you stomping on anything you can get your hands, feet, elbows, chin, etc. on. Finally, the album features two slow and absolutely blissful tracks, "Ypsilon" and "Crystal Vista"; these soar like a space ship silently drifting into space.

Don't expect anything profound, here; this is well-dressed yet highly accessible music. By the way, the CD sleeve sates: "This album is dedicated to all those brave visionaries who work in the field of research and planning for human colonization of other planets". For a taste of "Colony", check out BJORN LYNNE's website for some eye-popping, jaw-dropping videos set to its music. Sit back and enjoy!

VANGELIS meets HACKETT? Indeed, BJORN LYNNE's music has the quirky, zany quality of HACKETT's guitar play and showcases some of VANGELIS' best electronic soundscapes; but it is less pastoral than most of HACKETT's material and it rocks the way VANGELIS never did. "Wolves of the Gods" is an excellent example of LYNNE's art. Although the music on it is not very complex, Mr. LYNN is an all-round artist who handles all instruments equally well (he plays all except the drums on this album). He also has a knack for composing catchy melodies which he manages to dress up as million- dollar productions. Because he cannot live by his music alone, he also writes computer games in his spare time, but please don't write him off as a 'drum-machine operator'. As this album proves mightily, his music is anything but.

The "Prologue" with its horn-like intro has an almost classical feel to it. Among other good tracks are "Shapechanger", a pulse accelerator with superb sound effects; "The Ghost Warriors of Caluz" an eerie tune with crimsonesque overtones; and the 10- minute epic "The Beckoning Sea"; this one is a slow cooker that turns into an infectious rocker with screetching Celtic pipes and a most catchy hook.

But the pièce de résistance is "Palimak's Revenge". This one is a killer and showcases BJORN LYNNE's most 'progressive' material. It starts with simple guitar notes and ominous sounds in the background; but the listener is soon blasted with time changes and some virtuoso guitar play upon a tapestry of whirling keyboards. After a few minutes of this frenzy, the music slows down considerably, with only the beat remaining (keeping the listener on his toes). You know something wicked is about to happen. Like an omen, a little boy's laughter then softly comes in - a nasty, devilish little laugh that makes your skin crawl - while the bass is mounting and throbbing ever louder, until the whole thing explodes into veritable musical fireworks - a real ground shaker in 7/8, replete with twirling, scorching, distorted guitars and dramatic, soaring keyboards. This track alone would be worth the price of the CD, but the whole album is a real treat. This is adrenaline-packed cyber-rock.

Here is yet another colourful album by the young master of electronics. Although BJORN LYNNE has hired a cast of musicians this time around, giving the album more of a 'band' feel than on his previous "Wolves of the Gods", the compositions are perhaps a little less inspired than those on "Wolves". Judging from the few LYNN albums I own, the man seems wont to include at least one catchy tune on each of his CD's - in the case of "The Gods Awaken", we are treated to a lively and powerfully orchestrated piece called "Two Kings in Hadinland". Some strong moments can especially be heard on "The Sisters of Asper", "On Conjurer's Seas", "King Felino and the Slay Ground" and "Lottyr, Lady of the Hells". Overall, however, the album is a little moodier, more somber than usual. One can't help thinking this music would have made a terrific soundtrack to a movie such as 'Lord of the Rings'.

I love alisarrians cave! I do not have the CD...yet, but I am working on it. So far I have been listening to MIDIs. I am looking for a longer version of my favorite song, alisarrians cave, and I have popped into bios of Bjorn. I am not a clarinet player, but i play the oboe. I LOVE his music. It is so expressive and wonderful!