JORDSJØ

. 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.

To quote the liner notes "When "Jord" came out early in 2017, it was a different time for us. This was to date our fourth release and what would be our first proper album. Up until that point, we only sold our 50 home-made tapes to friends and a few die-hard collectors, but "Jord" got us a bigger audience, also outside Norway. The mixing was done badly by Hakon and also with the intent of only a tape release, so we thought it deserved a refreshed look and include the other song we recorded at the same weekend summer 2016. Therefore the "Jord Sessions. There's a new organ track on "Abstraksjoner..." and some bells and percussion on "Se Valinors Lamper", otherwise all tracks remain as the original."

When "Jord" came out I became an instant fan of this band, they reminded me probably more of SINKADUS than anyone else and I love that band. And while it blew me away I always felt there was this amateurish quality about it, a naivety if you will about it. Well this new re-mix has changed that completely. This sounds so much richer with a bounce to the sound you could say. It was originally released on cassette then cd the following year. Lets just say my original "Jord" copy is going in a box somewhere and "Jord Sessions" is my new "Jord".

I'm just so glad I picked this up, it made my week last week spinning these familiar tunes that sound so much better. That over 13 minute bonus track of course fits right in and is one of the better songs on here. I just think if your like me and value this band highly you need to get your "Jord" replaced with this one. I've discussed the actual music in my "Jord" review so I won't rehash that.

More solid Prog folk-based original music from this Norwegian duo here releasing their fourth full-length studio album.

1. "Invokasjon" (2:52) impressive but lacking anything really engaging to the soul. (8.75/10)

2. "Sankeren" (7:22) sounding very much like WOBBLER. I like the mediæval folk third minute best. Besides the solid instrumental performances throughout, this is not anything so very exciting or innovative here. (13.25/15)

3. "Salighet I" (6:17) the opening 75 seconds of folk play is exceptional, followed by a nice passage of psychedelia. My favorite song on the album. (8.875/10)

4. "Salighet II" (6:10) more electrified and Krautrock grooving than its predecessor. Nice folk melodies. Another top three song. (8.875/10)

5. "Ura" (6:39) psychedelia that starts out either a little too sad and down or lacking melodies to hook the listener depite its change into a more 1970s happy-go-lucky JETHRO TULL-like tune. (8.875/10)

6." Danseritualer fra Jordsjø - Prosesjon & Ekstase" (2:55) opens like a true folk rock tune of the circa 1970 era with Hammond organ and blues rock foundation. Guitars and flutes are busy until lead electric guitar takes the lead in the second minute. Nice solo over a MOTORPSYCHO-like foundation. Some great performances of a nice composition. (8.875/10)

7. "Stjernestigen" (10:21) opens like the unfolding of a folk story being told through ballet movement. As the music develops, slowly and in spurts, it continues to retain this storytelling --in a WOBBLER or CICCADA kind of way. (I keep expecting to hear the dulcet tones of Evangelina Kozoni's crystalline voice.)At 3:20 we get the introduction of Håkon Oftung's vocal, voice doubled up, over supportive organ, bass, and drums with synth soloing in between vocal verses. Nice. Gentle and perpetuating the storytelling feel despite losing the ballet quality. I very much like the chorus buildup and double-guitar-duel of the instrumental passage to follow. In the seventh minute heavily treated vocal precedes an instrumental passage over which piano solos--a melody that is later duplicated and mirrored by the untreated electric guitar. Nice work. It's practically a classical piece the way the two instruments are attuned to one another--even into a tenth minute as the other background support instruments gradually fade into nothingness. By the time the final 30 seconds arrives we are left with only the piano to carry forward the melody line--once again sounding like something that might support a ballet dance. (18/20)

Total Time 42:36

An album of very nicely performed, admirably intricate compositions that somehow fail to reach the heights of masterpiece status.

B+/four stars; an excellent addition of variable prog folk music to any prog lover's music collection--all composed and performed by two artists without any other collaborators.

In the early '70s, progressive rock's center of gravity was clearly in the UK, with the Italians having carved out their own distinct niche as well. In the ensuing decades, prog was largely dominated by Brits and Americans, but since the turn of the century, Scandinavia has become a leader in the genre, with acts like Opeth, Wobbler, and Beardfish.

Jordsjø, a Norwegian duo, follows in the path of their spiritual predecessors, Änglagård. Both acts draw heavily from acts like Yes and King Crimson, but distinctly Norse melodies are woven into anAnglo-prog-inspired backdrop. They've been consistently stellar over their career, and 2019's Nattfiolen was one of my personal favorites from that year.

After a brief, scene-setting intro, "Skumring i Karesuando" is the first proper song on Pastorialia. It's replete with lush Mellotron and synthesizer, lilting flute, idyllic acoustic guitar, and murky, creepy electric passages. There's a fantastic little funky clav break before a guitar solo near the end of the song that I wish they would have expanded upon a little more, but even with its brevity, this is a wonderful song.

The next track, "Mellom Mjødurt, Marisko og Søstermarihånd", follows in a similar vein, if a bit slower. Nordic folk and the gentler side of prog are effortlessly married into something that is both soothing, yet creepy and sinister. In this song's final minute, the intensity is cranked up for an impactful conclusion.

Pastoralia's title track is next, and this piece is the first song to fumble, in my opinion. It doesn't stand out in comparison to the two tracks which preceded it, and the structure feels jumbled and unfocused. There are some very strong ideas in here, but the band ping-pongs between musical themes too rapidly to build any significant tension or momentum. It feels like if you took a bunch of 15-second snippets out of a Gentle Giant record and played them all in a row. "Fuglehviskeren", meanwhile, is a brief interlude led by acoustic guitar and some sort of bassy reed instrument, but it does a great job of developing its central theme.

"Beitemark" opens in some rather jazzy territory. That same bass clarinet(?) helps establish a rhythm over which clean guitar and twinkling keys forge a melody. This song suffers from a milder version of the kitchen sink syndrome which plagued "Pastoralia", but it holds together reasonably well by comparison. The individual ideas are strong, and it's not rapidfire hopping. "Vettedans" is another brief folk interlude, but this one sounds like it's straight off Gryphon's debut record. 

The 10-minute "Jord III" closes Pastoralia. It begins with a typically-Jordsjø-y passage: Flute and lush keys form a distinctive texture as folk-and-jazz inflected guitars carve out a lead line. After around five minutes of instrumental interplay of varying quality, some quiet narration enters and does serious harm to the song's momentum. This experience felt similar to "Pastoralia" with its cycling of musical ideas, but the spoken word section brought "Jord III" to a screeching halt. Even after the narration ends, this song languishes, barely moving forward at all.

Despite my grousing, this is still a decent album. It's definitely Jordsjø's weakest album to date, but with the reputation and catalog that Jordsjø have cultivated, that's still better than a lot of what you're going to find in the contemporary prog scene. Amid the overlong, unfocused songs, there are some very successful integrations of progressive rock with the folk music of Norway.

Review originally posted here: theeliteextremophile.com/2021/06/21/album-review-jordsjo-pastoralia/

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/

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.

"Pastoralia" is the most recent album from this Norwegian duo called JORDSJO. Six guests helping out with vocals, bass clarinet, guitar, double bass and violin. Like most I feel their previous album "Nattfiolen" is better and that 2017's "Jord" is their masterpiece. "Pastoralia" is maybe folkier with more space to breathe but this is no doubt JORDSJO thankfully. I remember the first time I heard them and being so surprised that they were from Norway when they sounded so much like ANGLAGARD and SINKADUS. Lots of mellotron and flute of course and in the liner notes they thank side project ELDS MARK along with AGUSA, TUSMORKE, WOBBLER and more.

I think it's so cool that they close this album with "Jord III" because "Jord I" and "Jord II" were on the "Jord" album from 2017. "Jord III" is my favourite track on here and at 10 1/2 minutes it is the longest tune. There's such a majesty to this song at times and I like the repeated themes. "Beitmark" reminds me that my sister was a biter but I digress. Love the electric piano early on with the bass clarinet. That guitar style is so Swedish 90's sounding. Some complain about the vocals but I wouldn't change them. They are in the realm of the singing from ANGLAGARD, SINKADUS, ANEKDOTEN etc. and fit the woodsy music like a glove. Sounds so much like ANGLAGARD after 4 minutes with that flute. The atmosphere builds and dominates to the end. "Fuglehviskeren" is kind of cool with the upright bass and acoustic guitar. Some percussion and more follows but very folky. "Vettedans" is similar but more electric and plenty of flute. After the short intro track we get three very, very good tracks making this a very solid 4 star album overall.

I don't find it as consistent as the previous record but man so much to love here. My music!

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*)

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!

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.