NATTFIOLEN

Surely their best. So, one can ask me, why four stars only? Maybe the reviewer is a 'cloth-eared nincompoop' ((c) M. Oldfield, 1990)? Maybe, maybe. But the reason is different. Apart from the seven tracks stuffing the album, there's an additional 14-minute epic suite known as 'Nattfiolen Demo', not included in the album, published separately and currently available from Bandcamp with the following note from the artists: 'A demo outtake from the recording sessions for the album "Nattfiolen". Although this is the title track, it will not be included on the album for different reasons. Instead, it's released here as a christmas gift for our fans around the world. Happy holidays!' Thanks guys. The holidays were really fine, and everyone has a right to follow any reasons ad libitum. But just listen to the music in the following sequence: Ouverture, 'Nattfiolen Demo', Stifinner, Solens Sirkulaere Sang etc, according to the further track list. Done? OK what about your impressions? What do you hear? Right! - you hear an album which is much better than what was released. Without 'Nattfiolen Demo', the album Nattfiolen is just another excellent prog album. With 'Nattfiolen Demo', it would be a masterpiece of the same caliber as A Drop Of Light by All Traps On Earth. And 'Nattfiolen Demo' would be the cornerstone of the album, the most complex, intriguing, innovative, inventive and - on the other hand - heartfelt track. Maybe only Mine Templer II and Til Vaaren could compare to it. Yes if 'Nattfiolen Demo' is included, side one of the vinyl version would exceed 30 minutes, and this could cause a problem. Re-sequencing is not a solution because it would break the harmonious logic of the album. (Though Tormod of Pancromatic and his pressing plant staff know how to do so-called micro-recordings with no sound quality loss, just remember the vinyl versions of Kerrs Pink - Tidings, or Thule - Liquid, or White Willow - Terminal Twilight...) But if we forget about possible technical issues and discuss the music only, the rejection of 'Nattfiolen Demo' was an undoubted tactical mistake.

The only disappointing thing I can say about this album is the title track being left off, thankfully you can download it over at Bandcamp, but that piece is so amazing it shouldn't have been left off the album, it would have fit fine on the CD, but since the vinyl LP was also in mind, Håkon Oftung had to make the decision to leave it off and not have to disappoint buyers in either the CD or LP camp.

I am so pleased that I didn't have to wait so long for a Jordsjø release, not like Wobbler where you had to wait six years between releases (Rites at Down, From Silence to Somewhere). Which I love about Jordsjø since discovering them in September 2017 is that organic approach to prog, with a frequent pastoral approach that I really dig, often rooted in Nordic folk, giving it that Scandinavian feel that I so enjoy from prog from that area of the world. I also love how they completely avoid that sterile digital approach that plagues way too much prog these days (neo prog obviously being the most guilty). As usual Oftung gets help from Kristian Frøland on drums and various guests as needed. "Ouveture" is a simple piano and flute intro, but "Stifinner" is the first real song on the album. Starts off with this loud Mellotron passage, but then calms down with acoustic guitar, with vocals in Norwegian (in fact all the vocals are in Norwegian). I really like that organ and flute passage later on. "Solens Sirkulære Sang" is a lengthier piece demonstrating the band's more ambitious side, but Håkon Oftung also knows his limits, as Jordsjø as never been about playing a million notes per second (too much prog since the 1990s has been like that, and even before then ELP was frequently accused of that as well), like Camel, Jordsjø is more focused on the emotional part, unlike Camel, they give it that Nordic touch. "Septemberbål" is an unaccompanied acoustic guitar piece, much like a Nordic version of "Mood For a Day", but unlike that famous piece, it's more influenced by Nordic folk than classical guitar like what you get from Steve Howe. "Mine Templer II", a sequel of "Mine Templer I" (from 2016's Jordsjø II, later appearing on the self-entitled double album compilation). Instead of rehashing the original, it's completely brand new song and it's truly a stunning piece. I only imagine the lyrics having a same them that connects the two (but lost on me not knowing Norwegian) Really dig that flute intro, sounds so '70s you think it was recorded in the '70 (funny how that flute intro reminded me of that incidental music I heard on the original 1970s Land of the Lost TV series as I frequently heard similar sounding flute, although in the case of Håkon Oftung, it's likely just a coincidence as he was clearly not alive in the '70s, and lives in Norway). Then the song starts with a wonderful pastoral approach, nice vocals in Norwegian, and that nice use of piano to go with it, but I love how things change, with an intense organ passage, then the vocal theme reappears, this time, without vocals, but jazzy guitar parts instead, then a wonderful theme to close this piece. "Til Våren" is a really ingenious piece. There's the vocal section, and then when the flute section kicks in, it took me several listens to discover the flute theme is the same as the vocal section. Jordsjø sure has a way with creating a theme, and changing it drastically until it dawns on you it's a different take on that theme. Regardless this is truly one of the album's highlights. "Ulvenatt" is an atmospheric number that's very much in Pink Floyd territory, also Camel and even Sebastian Hardie. Håkon Oftung even does that David Gilmour style of guitar playing (also a bit in the style of Andy Latimer and Mario Millo). It ends with Geir Opdal giving some brief sound effects off his Buchla Music Easel.

And just in case you don't know Jordsjø, their music is very highly recommended if you enjoy bands like Wobbler, Änglagård, White Willow, Sinkadus, Tusmørke, and Landberk.

As mentioned, the omission of the title track is the album's only disappointment, had this been made in, say 2005, it would have been likely included as it would have been likely only issued on CD because 2005 would have been before the vinyl resurgence. If it was included it certainly would have been a highlight, but as it stands, the album, even without the title track, still blows me away. It's certainly one of the finest releases of 2019 so far.

A band I've been following since their first Jord releases. I was highly critical of their initial releases due to their lack of maturity both as songwriters, instrumentalists, and cohesive band mates. This album displays how far they have come--as well as how hard they've worked. I'm so glad they took criticism well and continued to persevere cuz it's really paid off.

1. "Ouverture" (1:19) flute-driven acoustic instrumental (4/5)

2. "Stifinner" (7:52) opens with proggy bombast but the band is not rhythmically tight! Acoustic guitar sets tone for next section. Flutes, bass, drums, and organ join in before vocals and fuzzy electric guitars can enter. Lyrics, sung in Swedish, are adequate with a nice melody. There's a little 60s psychedelia in here, as well--in both sound and tension. The instrumental section in the third and fourth minutes has some amazing chord progressions with very nice soli over the top. Things slow down while a swirling organ arpeggio keeps things moving as flutes, fuzz guitar, bass, and percussive rhythm guitar add their flourishes and riffs. This morphs into a more whole-band section with some cohering power chords, but then acoustic guitars, bass and flute take over in a very beautiful, delicate section. The final minute has drums, spoken word, and a kind of GENESIS Trespass/Nursery Cryme ending. Nicely crafted; these guys have really matured. (13.5/15)

3. "Solens Sirkulære Sang" (7:39) opens feeling very much as if it could come from GENESIS' album Trespass but then moves into KING CRIMSON "Moonchild" territory. Despite the delicate instruments used by this band, they do a very convincing job of portending a deep and heavy mood. (12.75/15)

4. "Septemberbål" (1:49) a folk instrumental on some kind of lute-like instrument with some sounds and stylings that feel as though they came from the Late Mediæval or Renaissance worlds. (5/5)

5. "Mine Templer II" (6:29) flute over jazz guitar accompaniment is soon joined by piano, double bass, organ, and, later, drums. Suddenly at the 0:50 mark a fuzz guitar chord introduces an ominously heavier section--one that feels quite VDGG or DISCIPLINE-like. Piano trills, Stephen Stills-like guitar flourishes, and Hugh Banton-like organ play with multi-voice vocals. The fourth minute ends with a thicker whole-band theme before lapsing back into the ominous main theme. All instruments seem to take a turn offering their tasteful soli until it finally fades with Stills-guitar and Hammond. (14/15)

6. "Til Våren" (9:02) some CAMEL, YES, and GENESIS sounds and styles are melded into this one. When the music quiets down to allow for the singing to start it feels very much like WOBBLER. The music flows in the common A-B-A-C-A-B format with slight and over variations within each repetition of a section. The harmonized vocal sections happen to be my favorite parts of this one (which are, unfortunately, the "B" sections). (17/20)

7. "Ulvenatt" (5:45) feels like a smooth jazz remake of a pop ballad: it's pretty and melodic and bluesy but not the prog I gravitate to (more like CAMEL or some of FOCUS' old ballads). (8.25/10)

Total time 39:55

Nicely crafted music--intricately constructed songs all. These guys have really matured.

4.5 stars; a near-masterpiece of intricately composed and performed prog music.

"Tons of Trons!"

In the early Nineties a new wave of Skandinavian prog started to blossom, speerheaded by Anekdoten, Anglagard and Landberk, with in its slipstream bands from Sinkadus to White Willow. I had to think about that while listening to this new album from Norwegian formation Jordsjo, entitled Nattviolen. It is my first musical experience with Jordsjo but from the very first moment I felt familiar with the music, because it is typical Nineties Skandinavian prog rock, and I am a huge fan of early Anekdoten, Landberk and Anglagard.

The 3 longer tracks (between 6 and 10 minutes) alternate between dreamy with twanging acoustic guitars and flute to slow rhythms and bombastic eurptions, topped with wonderful vintage keyboards, like the Hammond, but especially the unsurpassed Mellotron (brass, violin and choir section). This is a bonus on this album, like the very pleasant native vocals. The 4 short tracks are instrumentals, from the very short Ouverture (tender flute and piano) to Septemberb'l (beautiful acoustic guitar play, evoking Dutch Flairck).

My highlights.

Solens Sirkul're Sang (7.39) : First a mellow atmosphere featuring dreamy flute, electric guitar and Hammond (Landberk comes to my mind). The native vocals really sound very pleasant. Now the mood shifts between dreamy and more dynamic and lush, with a spacey synthesizer solo, and the distinctive Mellotron and Hammond sound. Halfway a break with flute and propulsive guitar riffs. Then again between dreamy and more more bombastic, embellished with flute, Hammond and Mellotron, strongly evoking Anglagard. Finally a compelling build-up to a sumptuous grand finale featuring a majestic Mellotron choir sound, blended with Hammond and repetetive electric guitar leads, wow!

Mine Templer II (6.29) : It starts with a slow rhythm that contains delicate work on the Hammond and piano, along warm vocals. Gradually it becomes more dynamic, the flute joins, then Hammond and Mellotron, again with strong hints from Anglagard. Halfway dreamy with fragile electric guitar, Hammond and piano. Then an accellaration with sparkling piano and flute, topped with dynamic drums. In the final part a subtle jazzy electric guitar solo, with piano, and an exciting Hammond sound (tremolo and churchy), blended with again subtle work on the electric guitar.

Ulvenatt (5.45) : The final, instrumental composition is a wonderful goodbey from the band, pretty different from the other 6 tracks. In the first part a slow rhythm with sensitive electric guitar, soaring Hammond and delicate Mellotron drops. In the second part a strong build to a very compelling atmosphere with an intense electric guitar solo (in the vein of mellow Focus and Camel), including subtle bending and howling runs, blended with lush Hammond organ, goose bumps!

Jordsjo makes wonderful and melodic prog folk featuring that compelling Skandinavian touch, often embellished with the majestic Mellotron. Highly recommended!

This review was recently publihed on the Dutch progrock website Background Magazine, in a slightly different version.

Color me impressed! Mellow mellotrons serenade golden filigreed flute's opposite alpine meadows. Exploding crescendos blossom heads of wolfsbane, woundwort, and purple vetch. Bluebells sway, nod approval at mountain meadow winds. Musical equivalent of a Swedish massage. Haunted Norwegian woody guitar chords set the mood for a day. Watercolor madness and magic mushrooms command wild strawberries. Old men (Viking woodcuts) white beards making merry. Medieval manor- milk maidens quaff mead in straw lofts spread out upon bear hides, sharing butter, cheese, candles, dried fish, salted meats. Trolltunga erection of rock in mud, a fireplace melody chars the grey matter, atop ivory dull-white whale vertebra...tingling, perfuming breathtaking, sonic organic masterpiece!

Jordsjø are based around Håkon Oftung (vocals, guitar, flute, Hammond M100, Mellotron, Clavinet D6, ARP Pro) and Kristian Frøland (drums, triangle, percussion) with some additional guests, and this is their fifth album in just four years so they are incredibly prolific for this style of music. This is an album out of time, as the guys refuse to sit within one particular genre of progressive rock and instead move throughout the scene, bringing it together in something which feels quite lightweight at times and massively complex at others. Just by looking at how plays what on the album, I expect from will discount Frøland as "just" the drummer and that this is based all around Oftung, but while that is obviously true in some respects, here is a musician who I would expect to be as happy playing jazz as he is prog, as he is way more over the kit than many would expect.

But given that virtually everything else is performed by Oftung (although a special mention should be made of Christian Meaas Svendsen ? he may only play his double bass on the one song, "Mine Templer II", but it has quite an impact), it is his vision which carries it through. It is hard for the listener to pick his main instrument, as at times it appears to be piano, at others keyboards, while his guitar and bass playing is superb and his flute sublime. It is unusual to find a musician who appears so content on woodwind, stringed instruments and keyboards, and don't forget he also provides vocals. Vocals are in Norwegian, which I am really happy about as it adds an additional element to a non-native speaker such as myself.

It isn't unusual for there to be sections where there is very little bottom end to the arrangements, no bass and very little foundation, which moves the music in a quite different direction. Even though none of the songs are particularly lengthy (just one more than nine minutes in length, and the album itself is less than forty), there is always room for the music to shift and change considerably throughout. Jordsjø are a new name for me, even though they have been around for a while, and here is yet another I will be adding to my watchlist as this is a very strong album indeed which is highly recommended to any old school progheads.

Norwegian band JORDSJO was established sometime around 2014, and following a couple of self-released albums the band was picked up by Norwegian label Karisma Records who released their official debut album "Jord" in 2017. Later on their label compiled the band's earlier material into the compilation album "Jordsjo", and now in 2019 Jordsjo the band have returned with their second album "Nattfiolen". Staying put with Karisma Records as their label of choice.

For those who know and love their vintage era symphonic progressive rock, Jordsjo is a band they need to note down on their list of bands to explore. With references like Bo Hansson, early Eloy, possibly Camel and probably quite a few more candidates, their Earthen, mystical symphonic progressive rock is a delightful trip into the lesser explored sounds of the early 1970's, and one I imagine will be found desirable by just about anyone that finds such a description to be interesting.

Take the most mystical moments of Camel's 'Mirage' album, add some of that artistic/authentic PFM songwriting, a bit of Robert Fripp's clean jazz-guitar tone, some haunting flutes in the minor-6 vibe, and finally some moody nordic folk singing and you'll know what to expact from this release of the Norwegian group Jordsjo. To my knowlegde this is the most imaginative and honest sounding retro-prog effort ever made. It captures that moments of seventies prog where the atmospheric power and instrumental story telling was at its most potent. The amount of musical ideas offered on this fourty minute record is quite high, yet the band keeps their medium long compositions meaningful and descriptive of distinct atmospheres. The very skilled musicians of Jordsjo have an amazing interplay - the way vocals, flutes, jazz-guitar (love that tone!) and organ/mellotron change lead feels almost like a dance. Moreover, the band has an amazing timing for when to introduce an new theme. A final compliment for the mix on this record. 'Nattfiolen' has THAT sound. That warm, mysterious, lively and almost unhumanly perfect sound. The gatefold sleeve of the vinyl edition is beatifully designed and adds to the listening experience.

In my opinion this album should not only be consideres a top 3 record of 2019 (with 'Resistance' and 'Amazonia'), but also among the best retro-prog efforts of the 21th century. Much more lively and grasping than - for instance - Anglagard or Wobbler.

Those who adore Scandinavian symphonic folk prog, and who have always been put off by the dark and adventurous side of the music of Anglagard and the early Wobblers, will be delighted to discover this album.

With "Nattfiolen" the Norwegian duo Jordsjø seems to have found their way and finally offers a matured and less eclectic style than on their previous albums. This duo is moreover more of a solo project where the leader sings and plays various instruments accompanied by a drummer / percussionist. Håkon Oftung is an accomplished musician, equal in talent on keyboards, guitars and flute. Hence a perfect balance in the instrumentation of the pieces. The compositions are pastoral, imbued with Scandinavian folk, often close to Anglagard (like at 3:30 on the track "Stifinner") or the first Wobblers, without, I repeat, the complicated and adventurous side of these. The melodies all in finesse, the delicate arpeggios and the pure sound of the electric guitar à la Latimer, bring to mind the Camel of "Snow Goose", or the German band Rousseau (listen to "Le Grand Rêveur", or "Entrée" on Flower in Asphalt). Finally, singing in Norwegian reinforces the romantic and sensitive atmosphere of the music.

A masterpiece of the kind that deserves its five stars without hesitation. Keep it up guys, everything is perfect !

I've been a music lover since I remember and I can really appreciate various genres and sub genres, regardless their origin. But what really grabs me about music are songs, and when I specify songs I'm trying to separate music with lyrics from instrumental music' I like lyrics, I indulge from the effort musicians put on their compositions when they combine beautiful music with beautiful lyrics, happy or sad, angry or corky, romantic or not, empty or storytelling, I just love them all. My native language is Spanish, I'm from Venezuela, my second language is English, I live in the USA, and then I understand a little of Italian and some written French, but Norweian'.that's a different beast for me'that's why writing this review wasn't an easy task because not understanding what the band is transmitting lyrically somehow lowered my overall appreciation, however Jordsj''s music is so incredible that it just grabs your brain and takes you on a enchanted and unforgettable fairytale trip, a truly overwhelming experience. After the melodic short and flute-based Overture a powerful Stifinner steps in, acoustic guitar, flutes, mid tempo rhythmic section and those enchanting atoned Norweian vocal melodies, I'm easily sold. There's a Howe-like guitar tone here that accompanies the glorious flute before getting immersed in some dark and beautiful instrumental interlude to the symphonic passage, catchy and obscure as hell. Solens Sirkul're Sang prolongs the magic for another 7mins, tasty guitar licks and exceptional percussion with that same flute playfully adding layers of beauty and opening the path to the 70's inspired synths'it's inevitable to feel some Songs From The Woods inspiration around this song, around this album. The double bass sounds extraordinary and leads the rhythm before the slow repeating guitar-based creepiness takes over for the last minute or so, truth be said, this minute or so was the one that made me go over and listen the album again and again. Septemberb'l is a refreshing instrumental piece, basically acoustic (and medieval inspired) guitars to welcome the dramatic and exquisite Mine Templer II. Oftung's flute plying its really outstanding and is definitely a highlight for me. Vocal harmonies return with a piano driven melody, the guitars go backstage for a while and stay there, hauntingly making their way to challenge the flute, jazzy symphonic prog at its best! Til V'ren blends in after a short synth interruption, and the piano pleasantly introduces the new Nordic forest feast, allowing guitars, bass, flute and drumming to interact in a perfectly crafted symphonic ritual (bonfire included!)'I really wished I could understand what the duo is singing about, but my rough guess is that it must be about life, at least that's what it sounds like. Hammond galore, with the guitars and flute adding question marks to the symphony and Fr'land's drumming is so exquisite it deserves a place in the prog drumming emporium, alongside Bruford, Harrison, Peart, Collins and so on. Dramatic but beautiful music, complex but at the same time so easy to digest even with the language barrier. Definitely a top discovery for me! Ulvenatt brings closure to the ride, with repeating sober and beautiful guitar licks, very Camel-like but with its own qualities and technique, with a feeling of joy after the symphonic storm that preceded it, a well deserved rest for the extraordinary musicianship just witnessed. Chapeau and kudos to the band, looking forward to carefully listening and digesting the rest of their catalog! THE END!

Review Nº 542

Jordsjo is a progressive rock band from Norway based in Oslo that was founded in 2014. Jordsjo is a duo featuring Hakon Oftung on vocals, guitars, flute and keyboards, and Kristian Froland on drums and percussion, with some additional musicians. Jordsjo is quite an unusual band. It's one of those bands that fly the flag of the classic traditional prog, the prog that is commonly called symphonic. Their apparent prog influences include Genesis, King Crimson and Porcupine Tree. However, they have also expressed admiration for classic horror films, soundtracks and Scandinavian folk music. Their music is earthy, ethereal, and dramatic. Flutes, piano, Hammond organ, and analogue synths blend in with acoustic and electric guitars, bass and drums providing an immersive experience that will bring joy to fans of the 70's prog, but also to more modern bands like Anglagard and Wobbler who have embraced this classic soundscapes.

The debut album of Jordsjo saw the light of the day in 2015. It connected the symphonic prog to some sort of prog folk. On their next album, "Jordsjo II", they took the folk parts back a little and instead turned up the rock parts. After an experience with the Norwegian synth project Breidablik, "Songs From The Northern Wasteland" released in 2016 that was oriented towards electronic prog, they released their album "Jord" in 2017, a typically Scandinavian retro-prog album with reminiscences of Anglagard and Sinkadus. Their next release was this album "Nattfiolen" released in 2019.

"Nattfiolen" sounds more cohesive and focused compared to its predecessor "Jord" and where there are truly some captivating moments to be discovered. On the top of that, the warm and organic vibe that resonated throughout "Jord" is also very much present on "Nattfiolen", but the latter boasts more refined and memorable compositions. With "Nattfiolen" the Norwegians basically continue exactly there, in "Jord", with the difference they may have withdrawn a little further into the forest. It comes to my mind the amazing album of Jethro Tull "Songs From The Wood", but darker, more atmospheric and clearly very Scandinavian. The rockier passages of "Jord" have been reduced a bit, so that "Nattfiolen" can claim an even more organic character that its predecessor. For Jordsjo, nature exemplifies their stage set. On "Nattfiolen", the association between nature and music is first and foremost apocalyptic and mystical, which to some extent applies to its predecessor. On "Nattfiolen" there's a perfect balance between folk and symphonic music.

The opening "Ouverture" fulfill adequately its role. It's a very short track, an extremely delicate beginning that greets the listener with gentle flute sounds that are carried along on piano swabs. These temptingly invite us to follow them into the forest. "Stifinner" waits for the listener to a warmly welcome with a pompous introduction to go on a journey of discovery. The song then undertakes a real wandering through some different moods and covers not only classic, atmospheric folk but also sometimes mystical, sometimes ominous soundscapes. "Solens Sirkulaere Sang" is a dark ominous piece reminiscent of the early King Crimson's works in its moody almost medieval atmosphere with its fluid woodwinds and a bit jazzy style, a reminiscent at the time of "Larks' Tongues In Aspic", where the native vocals sound very pleasant. "Septemberbal" is a nice successful interlude based on the acoustic guitar with a brief but rewarding classical guitar solo. This kind of interlude is followed by "Mine Templer II" that begins with some mysterious chords where the rhythm section takes care of the progressive momentum with its great fretless bass line. It features a gradual, piano driven buildup to a fluid, emotional guitar solo. This is a straightforward and playful track at the same time. "Til Varen" is the magnum opus of the album. It's a nine minute mini-epic that starts with its strange atmospheric melody played on piano and flute. After an organ driven jam section, we can hear an acoustic verse. It then shifts into a warm, gradually building instrumental section. Gradually, it closes with a chaotic, flute led jam, an impressive final, indeed. "Ulvenatt" is a slower piece, almost a ballad, with eerie, hovering organs and smooth infectious guitar melodies. It's subdued and minimalist in the means, free and dignified, using the same thread for five minutes. This is a wonderful goodbye, pretty different from the other six tracks, in order to calm emotions and prepare us for the inevitable goodbye.

Conclusion: Scandinavian countries have climbed several positions on my list of the best prog releases, consistently. In all of them I noticed excellent compositions, neat instrumentation and analogue sound. Here's the formula for any work that wants to please me. And Jordsjo isn't an exception. Their album "Nattfiolen" caught the attention of the entire progressive community in the world. The climate immediately takes us to the icy landscapes of northern Europe and has a lot of local folk with its mysterious air. It has a wonderful blend of folk and symphonic rock, with an omnipresent Mellotron sound and obvious hints from Anglagard, worth to discover. However, the basis of folk is brought out in a dynamic arranging mechanism and rich variations. It's a work to be tasted and its beauty is fully appreciated, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

4.5 stars. The Norwegian duo are back with their followup to 2017's "Jord" an album I consider to be a top three for that year. "Nattfiolen" was released in 2019 and I would describe it as more pastoral than "Jord" less immediate but man it's right there and a worthy followup. In fact I think they actually improved on some things, and this seems more mature as well. I'm still hearing SINKADUS at times but not as much. As usual they get some guests to help out and here we get five with two adding synths and the others backing vocals, percussion and double bass.

The opener "Ouverture" along with "Septemberbal" are the two short instrumental tracks, the former is pastoral with flute and piano while the latter is acoustic guitar melodies throughout. The other five tracks range from under 6 minutes to just over 9 minutes and man this is good. "Stifinner" opens and closes with these powerful outburts but in between we get some beautiful music led by the flute and vocals. I like the long instrumental breaks and that mellotron 5 minutes in.

"Solens Sirkulaere Sang" reminds me of SINKADUS the way it opens with flute and organ before it turns more powerful. It settles back and vocals and drums arrive just before a minute. Love that guitar, so Swedish. The calm before 5 minutes with vocals is almost haunting. That SINKADUS vibe is back and then it builds to the end. Great track. "Mine Templer II" has that guest double bass, vocals, flute, light beats and piano. Mellotron before 3 minutes as vocals soar. Picked guitar and piano only follow then a change after 3 minutes. Check out the guitar, I just like how clean it sounds and that tone.

"Til Vargen" is the longest at over 9 minutes and it's mellow to start with flute and keys before speeding up some around 1 1/2 minutes. This one is a ride people from pulsating keys, flute and drums bringing ANGLAGARD to mind to the fragile vocals and a calm before 3 minutes. Check out the mellotron that follows sounding amazing. Love that picked guitar then it all picks up. A dark calm at 6 1/2 minutes and I love when it starts to pick back up. "Ulvenatt" is the closer and it's a laid back, feel good piece of music with floating organ, light beats and picked guitar.

The album cover is a thing to behold, just gorgeous like that last track. The band thanks TUSMORKE and WOBBLER in the liner notes. This was mastered by Jacob Holm-Lupo. A top five for 2019.

Jordsjø is one of the rare Scandinavian acts that draws from Scandinavia's native traditions (folk metal excepted, obviously). It helps that it's sung in Norwegian, but the music is rooted as much in folk as it is in progressive rock. Änglagård might be the most obvious analog, but I feel Kebnekaise's brand of progressive folk is an apter comparison. Flutes and a panoply of keys take the lead on this album, with guitars largely relegated to a supporting role. Jazz influences are abundant, as well. Atmosphere is used effectively on this album, and the Mellotron is well-suited for that task.

Review originally posted here: theeliteextremophile.com/2019/06/20/odds-ends-june-20-2019/

. From the start album delivers an exciting, refreshing, and wonderful sound. There are many similarities with their previous effort but this one has better and more mature songwriting. The band is also more focused on the emotional part of their sound and this is very obvious in each track, while the strong vintage influences are still very evident. The songs are flowing naturally, not jumping from break to break, indicating great musicianship. There is always a nice combination of keys, flute, and melancholic electric guitars. You can hear lots of great riffs, twists, and turns. The lyrics are in Norwegian and I think it's a good thing because it gives a sense of mystery to the overall sound of the band. Stifinner and Til V'ren are the jewels of this album that will satisfy any prog-rock fan at some point.