FIMBULVINTER

Bjørn Riis? Fimbulvinter: Released April 11, 2025

An Odyssey in Two Acts

With Fimbulvinter, Bjørn Riis invites us on a sonic journey in two parts. The first half of the album surprises with a more rock, even hard, energy, where the more incisive rhythm guitars bring a new intensity to his usually subdued universe. We perceive hard-core notes that contrast with the melancholic softness to which the artist has accustomed us.

Then, as the album progresses, we rediscover Riis's characteristic atmospheric imprint. The second half opens with more ethereal soundscapes, where soaring layers and introspective melodies take over, bringing us back to the deep introspection that is the artist's signature.

Fimbulvinter thus stands out as a work of contrasts, where the initial tension gradually gives way to contemplation, offering a rich and nuanced emotional palette.

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Translated from:

Bjørn Riis ? Fimbulvinter : Sortie 11 avril 2025

une odyssée en deux actes

Avec Fimbulvinter, Bjørn Riis nous convie à un voyage sonore en deux temps. La première partie de l'album surprend par une énergie plus rock, voire hard, où les guitares rythmiques, plus incisives, apportent une intensité nouvelle à son univers habituellement feutré. On y perçoit des effluves hard qui tranchent avec la douceur mélancolique à laquelle l'artiste nous avait habitués.

Puis, à mesure que l'album progresse, on retrouve l'empreinte atmosphérique caractéristique de Riis. La seconde moitié s'ouvre sur des paysages sonores plus éthérés, où les nappes planantes et les mélodies introspectives reprennent le dessus, nous ramenant à cette introspection profonde qui fait la signature de l'artiste.

Fimbulvinter s'impose ainsi comme une ?uvre contrastée, où la tension initiale cède progressivement la place à la contemplation, offrant une palette émotionnelle riche et nuancée.

High quality

Fimbulvinter by Bjorn Riis is a deep, haunting, and melancholic album that showcases his signature atmospheric soundscapes. Tastefully composed and performed effectively with both acoustic and electric instruments, the album draws listeners into an introspective journey. The track "She" stands out for its sincerity and emotional depth, highlighting Riis's ability to convey raw feelings through subtle arrangements and heartfelt melodies.

The title track, "Fimbulvinter," is probably the proggiest piece on the album. It starts off with heavy prog rock energy, transitions into a melodic passage, and then masterfully combines both elements. This progression expands into other musical forms reminiscent of Pink Floyd's ambient textures and late Opeth's emotional dynamics. Riis's skill in blending these influences while maintaining a unique voice is impressive.

Overall, Fimbulvinter is a very satisfying listen for fans of progressive and atmospheric rock, offering both emotional weight and musical sophistication.

4.4/5

The 5th solo album for the guitarist from Norwegian Prog band Airbag, Riis delivers more moody, atmospheric soundscapes in line with what his band does, but with a more poignant, introspective, and personal feel throughout. Knowing just when to keep things light or go heavy with acoustic and electric themes, the songs create wonderful brooding and powerful moods, punctuated by great guitar lines and fills. Named after the long winter that heralds Ragnarok, the album opens with Illhug, a beautiful, haunting acoustic guitar piece, which leads into Gone, the most rockin' track with a driving catchy chorus, while still maintaining its haunted mood. Panic Attack is the longest track (at nearly 11 min.) and takes its time to provide a Floydian masterpiece of melancholic beauty. She is a love song of pure and simple beauty, elegantly handled. The title track is the proggiest, an instrumental that mixes heavy guitar riffs with melodic guitar lines and heavy atmospheric soundscapes for a soaring finish. Overall, a wonderful, powerful album. Best Tracks: Gone, Fimbulvinter, She, Panic Attack. Rating: 4

Bjorn Riis - Fimbulvinter Country: Norway Year: 2025 Time: 44:22

****1/2

Tracks: Illhug (1:43), Gone (8:34), Panic Attack (10:56), She (6:33), Fimbulvinter (8:59), Fear Of Abandonment (7:36)

Bjørn Riis, guitarist for progressive rock band Airbag, has returned after 3 years with his most personal album yet Fimbulvinter. On this new record, he handles vocals, guitars, bass, and keys. and brings with him fellow Airbag drummer Henrik Bergan Fossum as well as Arild Brøter, and Kai Christoffersen on drums as well.

The record hinges on the concept of mental fragility, interpreting the pain and anxiety that precedes a breakdown ? just as how, in Norse mythology, the Fimbulvinter precedes the end of the world.

The album kicks off with "Illhug," a brief beautiful, haunting and delicate acoustic instrumental.

Following "IIIhug" we have the first signal "Gone", which has the steady drive that some Airbag songs have. This is a song up tempo, a nice rhythm section with fabulous bass playing. Lyrically it deals with a person who has been running all his life. This one is one of the heavier songs musically on the album.

Next we have "Panic Attack." This song has a particularly oppressive atmosphere, it really grabs you by the throat, both musically and lyrically. You can feel everything that a person feels when having a panic attack. On the one hand you feel the modesty, on the other hand you feel the powerlessness. An emotionally powerful song.

After all the experiences of Panic Attack, you now get some air again with the next song, She. "She" stands out for its sincerity and emotional depth, highlighting Riis's ability to convey raw feelings through subtle arrangements and heartfelt melodies. Honestly he does this so well.

The effects of cold winds and dark clouds blow through the introduction to the title track, "Fimbulvinter," before thudding percussion, bass and a dulled trudging guitar riff stomp all over this track, Swooping and dipping, tearing us away from the forlorn beauty of the previous track and leading us into an uncertain dark place. Best song on the album.

The closer "Fear of Abandonment" is another favorite. It feels vulnerable and the vocals are hushed and uncertain. The end of the album can feel a little hopeless, just like a long winter before the end of the world, and I think Bjørn intentionally ends the album this way.

This album has immense depth and one can only applaud Riis for his bravery and honesty. Highly recommended.

One forgets about Airbag and its uber-talented guitar-songwriter due to the fact that everything they've ever done seems to be able to escape the realm of (and comparisons to) peak era, peak sound Pink Floyd. I always enjoy the rich and pristine production value but somehow end up feeling disconnected from it once it's over due to the fact that Pink Floyd already did it--and how many repetitions and reiterations of Pink Floyd do I (does the world) really need?

1. "Illhug" (1:43) an amazing little song, emotive and evocative on so many levels. Worthy of comparisons to anything David Gilmour has ever done. (5/5)

2. "Gone" (8:34) the background floating guitars in this are amazing but the vocals and bass and drum lines to this feel so derived from the 1980s New Wave scene that Bjørn has to do a ton more to win back my respect and attention. It doesn't happen, it just never happens. (17.333/20)

3. "Panic Attack" (10:56) on this one the listener can hear how Pink Floyd has evolved but cannot escape the fact that it's still grounded in all that is (was) Pink Floyd. The guitar solo in the song's peak--the ninth minute--is great BUT it's so David Gilmour--the song so Pink Floyd-turned-heavy-à-la-Porcupine-Tree that it makes me squirm with discomfort. And then he chooses to just end it mid phrase--like a death or loss of consciousness or end of a dream. (17.375/20)

4. "She" (6:33) emotional strummed acoustic guitar with background electronic loops support Bjørn's in-your-face whisper vocal. The lyrics, however, take so frickin' long to reveal what message he's trying to convey: they're sung so spaciously, drawn out over so much time. Read or sung straight it takes me no more than 20 seconds to read them; it took Bjørn four minutes to share them with us. They're a wonderful tribute to "her"--and the plaintive wail of the electric guitar that follows is powerful and evocative--but, why? Really? (8.875/10)

5. "Fimbulvinter" (9:00) more sublimely solid lead guitar work over some interesting but, in the end, obnoxious off-beat syncopated guitar power chords and rock drum and bass play leave me feeling hesitant and left on the outside walking my own way. There is a certain mystique in some of the richly layered places in which the drums and chugging guitars are absent--something mythical in a cool Norse way--but ultimately it's a collection of sounds, textures, and stylings that every lover of David Gilmour has heard over and over for 55 years. (17.333/20)

6. "Fear of Abandoned" (7:36) sounds exactly like a song (or remnant) from Airbag's debut album--way back in 2009--sixteen years ago! (12.75/15)

Total Time 44:22

Unfortunately, the raw and fairly-untreated voice that Bjørn uses (possesses) is just not special enough to earn my praises--and his lyrics are not as compelling or poetic enough to earn acclaim or adulation.

C+/3.5 stars; a beautifully-sounding album that, unfortunately, offers very little in the way of new or excitingly fresh ideas.