THE THIRD SLEEP

After falling in love with their 2022 studio album release, The Quiet Rebellion of Compromise, the Norwegian quartet's third album, I have been waiting with great anticipation to see what might follow. My hopes are raised further by the knowledge that the band's membership remains the same since guitarist Stephan Hvinden joined the founding trio for 2018's False Memory Archive.

1. "No Such Place" (6:06) strumming acoustic guitars, loud snare drum, and Simen Valldal Johannessen's deep crooning voice makes for a welcome and comfortable sound--like something by Richie Havens or John Martyn. A solid, quite likeable song--even with the uncredited soprano sax. I especially like the clear out at 4:45 for solo arpeggiated guitar before slowly bringing the band back together to finish. (9/10)

2. "London" (4:20) good music that opens with some cool odd sounds and then moves into an insidious, relentless motif that takes a few measures to establish itself before Simen joins in with his vocal. The sound palette is pretty cool, especially with the creative guitar sounds and play, and a cool chorus, and some powerful STEVEN WILSON /PORCUPINE TREE-like territory to the song's end. (9.125/10)

3. "Run Into the Sun" (5:34) a weave of muted/compressed instruments provide the base for Simen to sing. It's a fairly standard song that is based a progression of four chords; it truly sounds as if it could come from a ROBBIE ROBERTSON or Richard Thompson album. Nice but definitely nothing groundbreaking (especially without access to the message of the lyrics). (8.75/10)

4. "Shimmer" (7:36) moving further into the world of distorted perception, Simen gives another powerful Jon Ivar Kollbotn (Major Parkinson) (verses)/Mark Hollis (chorus)-like vocal performance. Uncredited soprano saxophone solo appears briefly in the first half of the fourth minute. Though guitar starts the song out, this is another piano-based composition--as evidenced by the extended soft-jazzy piano solo playing out from the fifth minute to the end. Again, how Mark Hollis like! (13.375/15)

5. "Shapeshifter" (7:58) another song whose opening reminds me of Ivar Bjørnson & Einar Selvik's 2018 Viking Folk masterpiece, Hugsjá, but then deep bass and drums join Simen in the second minute to give it a more insistent, urgent feel, almost metal-like. The wonderful tom-tom play sounds quite electronic (and why not?) while the instrumental fifth minute relies mostly on MIDIed electric piano layers before the toms and bass rejoin. Cool to have the toms acting as the "lead" instrument (as it turns out, not unlike Nick Mason's roto-tom work in Dark Side of the Moon's "Time." The layered vocal "chant" work in the seventh minute is cool--it leads into Stephan Hvinden's finest moment on the album with a searing electric guitar solo to take us to the the instrumental final moments. Very good song. (13.5/15)

6. "Borders" (6:24) more drum and bass lead-ins before PT/SW guitar power strums take us into the main motif. Piano- based with some programmed-sounding tracks (percussive in nature) in the weave leads to a heavy chorus with Simen's urgent vocals and some Viking choral phrases as well while the instruments ramp up their volume and noise. With the fourth minute the band presents some brief divergent passages to alternate with the power chorus: tuned percussion, piano, Mellotron, muted "background" drums, all carrying forward the main melody only in a softer, more minimalist weave. At 5:45 the heavier passage returns but sans vocals: only guitars, piano, and jaunty rhythm section. Interesting but nothing to write home about. (8.75/10)

7. "Sensory Overload" (8:12) bled over from the previous song, the same instrumental sound palette continues but the vocal performance is very different: there sounds to be either multiple vocalists or multiple tracks performed by Simen on which he transforms his voice credibly in several different ways. The tripart weave is remarkable but unfortunately, it fails to live up to what it seems to promise: fails to develop into anything more elevated or interesting. An instrumental mid-section explores keyboard electronica with some more creative drum pounding turns psycho-political with arrival of SEVEN IMPALE-like "saxophones" and then death metal growls. Not what we were expecting! And then crescendo and space-drone to end it all. (13.5/15)

Total Time 46:13

The music is still as melodic and accessible (and creative sonically) as their previous album (which I loved) but I feel as if there is less risk, less creative ideas being tried out on this one.

B+/4.5 stars; another excellent album of refreshingly creative music from one of Norway's up-and-coming artists. Definitely a band to keep following!

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