TWANGYLUCK

Norwegian act Metrognom released in 2006 a special prog gem that is yet to be properly discovered by prog audiences worldwide. "Twangyluck" shows an instrumental ensemble capable of displaying tireless punch and consistent cohesion all thorugh its jams and expansions: these expansions harbour a resurce for development of the msuical ideas, which at times are taken to energetic levels, at times translated into atmospheric textures. The band's overall sound is based on a confluence of diverse influences such as Anekdoten/Landberk, "Mountin Grill"-era Hawkwind, 75-76 era van der Graaf Generator, the harsh enthusiasm of proto-prog, the jazzier side of old KC, and even the dreamy melancholy of post-orck at its fiercest level (a-la Explosions in the Sky). The group manages to keep things pretty intense without letting the melodic instruments (lead guitar, sax, synthesizer) indulge themselves in excessive complexities. The sax interventions are the most jazz-related items found in Metrognom's travels; these interventions add a special dynamics between the solid guitar riffs and the eerie synthesizer lines. The lack of pyrotechnics allows the rhythm duo to surface notably in the mix, and that's a very good thing, since their labour at sustaining the band's sound across the mood and rhythm shifts indicated in the compositions happens to be pertinetly featured for the listener's ears and mind. Not unlike many Scandinavian bands, Metrognom flaunts the presence of vintage keyboards such as the Mini-Moog, the Theremin, mellotron, and of course, the Hammond organ. The opener 'Max Planet (incl. The Sudden Turbulent Landing Procedure)' gets started with a semi-robotic speech, very Hawkind-esque, which announces the 6/8 main motif. This motif is a full frontal homage to Genesis' 'Watcher of the Skies', as if it had been performed by a combination of musicians from Landberk and Anekdoten with special guest Tim Blake. Its hook is appealing enough as to serve as the perfect introductory sampler of Metrognom's musical vision, but it is also the least impressive piece of the album. Regarding the handling and link between variations, any of the other three tracks is more accomplished. 'Ten Peppermint Butterflies in a Ray of Moonlight' kicks off wit ha succession of alleatory sounds of instruments getting attuned, when suddenly the full band explodes into the main motif, carried awya by the lead guitar in a solid fashion while the half-cosmic, hal-fcreepy keyboards exorcise ghosts from old albums by Eloy and Novalis. When we get to the slow section, we find an extended momentum of ceremonious moods filled with a moderate sense of mystery - teh acoustic guitar hums and mellotron layers provide a mesmeric background for the sax solos and synth adornments. With the return of the main motif, Metrognom recaptures its rougher side, even taking it to a perticularly enhanced dimension due to the addition of jazz-rock inspired cadences. The coda of acoustic guitar and distant synth creates a second unexpected climax after the rocking climax that preceeede it. Track no. 3 bears the funny, extravagat title 'Opening Ceremony to the Trolls Seventeenth Olympic Games'. Here the band again explores the musical trends exposed in track 1, albeit with a more intense dynamics and a higher accomplishment of complex arrangements and creative arrangements. There's also room for soem delightful acoustic passages, which build on the band`s introspective side. The irruption of a harsh motif feels very pertinent in a dramatic viewpoint, elaborating a sonic storm as a kind of bridge between the acoustic section and the following electric portion. The album's final 21 ½ minutes are occupied by 'Tellus Will Tell Us Its Will', whose intro reveals a marriage between delicate sprinkles and creepy breezes. The initial motif is languid, very much like a Sigur Ros-esque reconstruction of PF's 'Echoes'. When the frantic episodes arrive, we're treated with yet another dose of typical Metrognom psychedelia that we've grown used to. The alternation between fast and slow section is very well managed. The jazz factor is more pronounced than ever before, reminding us of Colosseum or Lady Lake. Well, all things considered, "Twangyluck" is a refreshing example of new music patently rooted in the old, a muscular combination of retro-prog and modern psychedelia. Metrognom just has to be paid attention to, since their music is excellent.

METROGNOM were a five piece band out of Norway releasing this one album back in 2006. It's a concept album about our alien friend Twangyluck and his adventures. We get four long tracks over 64 1/2 minutes. Guitar, bass, drums, keyboards and horns are the main instruments but lots of synths including mini-moog as well as some mellotron and theremin. There's even these Akai synthesizer woodwinds. The guitarist would go on to run a record label while the keyboardist became a session musician and the horn player became a Producer and DJ. Man this is a good album. I'm surprised I didn't discover this back when it came out but this one is pretty obscure. Almost all instrumental save for Twangyluck's words here and there. My top two are the opener and closer.

"Max Planet(Incl. The Sudden Turbulent Landing Procedure" opens the proceedings with beeping sounds and our alien talking in a mono-toned voice as all aliens do. Guitar takes over at 1 1/2 minutes riffing away as drums, organ and a full sound follow. Nice. What's even nicer is the section that follows led by the sax. Just this beautiful melodic section that will be replaced by the guitar and full sound as themes are repeated. Love that interlude after 9 minutes, so interesting and enjoyable then it kicks back in before 12 minutes.

"Ten Peppermint Butterflies In A Ray Of Moonlight" like the opener is 14 minutes long and those are the two shortest tracks on here. A quiet start but it kicks in fairly hard after a minute with guitar and drums as the synths shoot off everywhere. The synths turn melancholic and I like this better. It settles right down after 4 minutes with relaxed sax leading the way before it turns punchy with a full sound. Acoustic guitar only 12 minutes in then it turns dark late to end it. "Opening Ceremony To The Troll's Seventeenth Olympic Games" builds then settles but check out when it kicks in before 8 minutes. Oh my! Love that bass then the tempo picks up. Another calm before ending hard with some nasty organ.

"Tellus Will Tell Us It's Will" is the 21 1/2 minute closer. Man this one is all over the place including the start with those strange sounds as we hear thunder in the distance. The synths sound like wind and then the guitar starts to rise out of this after 2 minutes. Great sound a minute later with the sax, drums and more. Check out the bass, drum, organ section after 5 1/2 minutes to after 8 minutes. Love that section. Organ only after 9 minutes then the drums join in. Guitar follows and it will soar bringing FLOYD to mind. Nice drum work after 15 minutes and then synth woodwinds after 18 minutes as it continues to shift and change.

A very solid 4 stars and one I highly recommend. Just so much here that I enjoy. A huge surprise to be honest.