PASTORALIA

Complex, nuanced, many-faceted symphonic prog coming from Håkon Oftung and Kristian Frøland's folk/anachronistic predilections. This is the band/project's sixth full-length studio release since 2014.

1. "Prolog" (2:16) solo jazz guitar joined by organ-led jazz combo before turning proggy around 0:45. Interesting for introducing the essence of the album that is to follow: a ball of confusion! (4.25/5)

2. "Skumring i Karesuando" (7:37) so many changes, styles and themes! From Keith Emerson/Änglagård to Ian Anderson to monastic chant to FOCUS, WOBBLER, and CAMEL--every 20 seconds a new and drastically different motif and style is presented and or returned to. Astonishing! And this one works! (My favorite song from Jordsjø. Ever.) (14/15)

3. "Mellom Mjødurt, Marisko og Søstermarihånd" (6:30) gently finger-picked acoustic guitar is soon joined by Mellotron strings, synth and simply effected lead guitar before shifting to strums and flute with organ background. Drums and vocals join in as organ becomes the more dominant foundational instrument. Flute solos with the vocal melodies as does choral vocalise before next verse. In the third minute, jazz guitar takes the lead before an eerie GOBLIN-like passaged of percussion and bass clarinet and other background instruments/sounds. The band then gathers up together to play out a very WOBBLER-like passage until breaking down for solo acoustic guitar work in the fifth minute. Though the lyrics are sung in Norwegian, I very much like them--they feel sacred--like something that one might have seen performed in a monastery in the 17th or 18th Century. An instrumental JETHRO TULL-like passage then begins at 5:45 and plays out till the end. With repeated listens I hear more and more similarities to the musics being published by Greek Folk Prog band, CICCADA. Another top three song. (9.25/10)

4. "Pastoralia" (6:05) sounds like a simple song composed by Christoffer Gunrup's THE AMAZING but performed by (or with) GRYPHON or acoustic GENTLE GIANT--though the melodies are more akin to those used by modern Greek prog folk band CICCADA. (8.5/10)

5. "Fuglehviskeren" (2:32) a wonderful little jazzed-up folk piece--instrumental. This one could have had the support/contribution of Markus Pajakkala's UTOPIANISTI squad. My final top three song. (4.75/5)

6. "Beitemark" (6:01) another ancient-feeling song structure performed by a wild diversity of old (1960s) and older (Renaissance troubadour) instruments and vocal styles. A bit of old WOBBLER, GHOSTS OF JUPITER, and the most recent NEEDLEPOINT in this one. (8.75/10) 7. "Vettedans" (2:02) pure GRYPHON with this one (minus vocals) with anachronistic stringed, horn, and keyboard instruments. Nice. (4.5/5)

8. "Jord III" (10:34) solo piano, as if stuck trying to figure out his melody lines, turns into a full-band song at 1:25, using one of the piano's melody lines repeatedly until a solo jazz guitar takes over early in the third minute playing a coda into a new, more fully developed full-band. The song plays out as if the composer and principal instrumentalists were trying to work out some mental mathematical issues in counterpoint and melodic inversion and manipulation; the recording of a long étude. In the eight and ninth minutes, there is a SKE-like "conversation" of a particular melody--in parts--within a group of six or seven individual musicians (using their instruments). The final minute uses an organ to finalize with a continuous chord building of swirling notes. Interesting--especially intellectually--but hardly drawing me back for more "enjoyment." (17.25/20)

Total Time 43:37

These guys just keep getting better and better--their music and production maturing with each album release. The only thing maybe getting in their way now is their own penchant for cleverness.

B+/4.5 stars; a near-masterpiece of eclectic anachronistic progressive folk rock music worthy of inclusion in any prog lover's music collection.