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SOT

RIO/Avant-Prog • Norway


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SOT biography
SOT consists of musicians from the jazz-, metal- and pop scene in Oslo. The band members (Skjalg Reithaug, Anders Hunstad, and Lars Andreas Haug) studied music in high school in 1992 and formed a quite unusual band. And since then they have played at obscure clubs and birthdays. It was not until later they decided to put all their time and effort in SOT.

The music is abrupt and consists of many fragments. When you think you have digested one theme, another one starts. The band enjoys odd time signatures and heavy grooves, sometimes with a dash of childish melodies included. Their distinctive music and live performance gave the band a spot in Rikskonsertene (Norwegian Concerts Institute) 2012 program. They will be touring at schools in South-Trøndelag in the winter of 2012 and after this continue their musical activity throughout the year.

SOT have released their debut album "Kind Of Saltz" on the Sotanic Sounds label in December, 2011.

: : : Skjalg Reithaug, Norway : : :

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SOT discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SOT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.99 | 25 ratings
Kind Of Saltz
2011
3.84 | 13 ratings
Redwings Nest
2014
3.37 | 5 ratings
Kogel Mogel
2016

SOT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

SOT Videos (DVD, Blu-ray, VHS etc)

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SOT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

SOT Reviews


Showing last 10 reviews only
 Kogel Mogel by SOT album cover Studio Album, 2016
3.37 | 5 ratings

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Kogel Mogel
SOT RIO/Avant-Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars The "Kogel Mogel" dogma is: All music is to be recorded live without any overdubs". The album therefore has what the Norwegian band SOT terms "very different energy". Skjalg Reithaug plays guitars, Anders Hunstad on drums, keys, and Lars Andreas Haug plays tuba, trumpet, and all three have a stint on vocals. The lyrics are unimportant and unintelligible at times; it is the music here that paints the taspestry.

Opening with T'mmer (3:03), think Gentle Giant on acid with quirky chants of T'mmer. One may be reminded of Magma in places, at least in spirit if not execution. These Norwegian nutters are off and running with this track and then launch into Salt 3/4 (4:51) that has that trademark lead Tuba sound and a ton of lead guitar improvisations. It is clear that the band just get together and unleash what ever they feel. The music has a lot of passion and in fact the lyrics that may be nonsense in parts or Norwegian dialect, which ever one may believe while listening, it works to augment the outer worldly music. Kjede Tegn (3:42) is a guitar and tuba workout. The rhythm is as fractured as other tracks and the drumming is sublime throughout. The weird lyrics enter again, as mad as Hocus Pocus by Focus. Str'salt (4:58) is a slower piece with guitar vibrations and ethereal atmospherics. The cymbals clash gently as a washed out background and then the beautiful saxophone by Grzech Piotrowski chimes in. The effect is haunting and may lull you into a trance. Ekspertgraad (2:31) is short and jumps out of your speakers with a ferocity; chaotic percussion and off kilter melodies of sax, tuba and guitar. Then a weird antithesis of jazz and out of sync RIO tempos jolt your eardrums. It's jazz but not as we know it and I like it.

Ind (3:56) has a cool riff with twanging Shadows guitar and an estranged meter. The saxophone is glorious and emotionally charged. I like how the sax keeps in time with the complex rhythms of guitar and drums. Commandore (3:19) is the tuba in a playful mood and very cool guitars and a bizarre phased vocal that may get too weird for the average listener. It does not last and the time sig changes with a tuba solo and guitar chords up the scale. The sig switches again and the lead guitar takes over with some nice riffs and melodies, then the vocals return like a lost spirit. False endings close off the tracks in style.

Byttomfot (4:33) opens with a fanfare of marching drum rolls, tuba and odd vocals. It settles into a cool guitar riff and then more fun vocals. The sig moves to a new meter and the tuba really unleashes its power over crashing guitar chords. It drags on and on with hilarious results and goes into a maddening infectious melody that you may not get out of your head.

Elma (3:22) closes proceedings with a gentler approach. The sound is unique especially with guest artists LAH / Bydgoszcz who plays clarinet, and Kala ukulele bass. It is a dreamscape of soothing sounds and a wash of tranquil tones.

Once again SOT prove music is a multi dimensional beast and the album should please those with a penchant for the unique and different RIO sound they generate. I prefer their previous two releases as they featured longer tracks that explored and defined each track with definitive innovation. This album had a lot of tracks but they were not very long and did not allow for a wider range of inventiveness. If you are desiring something as bizarre as Magma, Gong or The Cardiacs, here is your album "Kogel Mogel".

 Kogel Mogel by SOT album cover Studio Album, 2016
3.37 | 5 ratings

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Kogel Mogel
SOT RIO/Avant-Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars Pretty nice, quirky and interesting!

I would like to thank Skjalg Reithaug for contacting me and introducing me to the world of SOT, this trio than in 2016 produced their third studio album entitled Kogel Mogel, whose dogma is: "all music is to be recorded live without any overdubs." This is a short release in which the band offers 9 tracks and a total time of 34 minutes in which we can feel an obvious sense of craziness and fun that are spread through guitar, drums, trumpets and vocals, mainly, accompanied by some other instruments.

The first song is "Tømmer" and I bet the vocals will be the first thing that hit your mind and memory here, they are funny. The work of the tuba is great, because it produces the sound of a bass guitar, of course one can notice is not a bass, but I, at least, don't miss it. This extraordinary work is present in "Salt 3/4", in moments reminding me a bit of Primus. The guitars and drums are great as well, I assume the name of Frank Zappa is truly familiar for the musicians. "Kjede Tegn" has a friendly repetitive rhythm that might be considered rock or avant-rock, sometimes guitars sound heavier which is great; and later they make a change, it is a bit slower but the presence of "fun" is inherent and that is more evident where the vocals appear.

In the next 3 songs the band introduces us to a new element, a sax player who creates new nuances and of course, change a little bit the direction of the music. "Strøsalt" is a slow track, with a jazzy feeling in which the sax is the main element. "Ekspertgraad" is a more explosive track that truly contrasts with its predecessor. Here there is a cool communion between drums, guitars, sax and tuba, all is fast at an unison, all is great. The sax participation finishes with "Ind", a song that is much different than the previous two (all of them are different, by the way). This time they produce a sexy and spacey sound

"Commandore" has an explosive start, with some rock and avant garde elements that are fulfilled by jazzy nuances and the fun element, adding even a kind of march sound at the end. "Byttomfot" starts with a new marching sound, drums, tuba and voices; later guitar joins, produce new elements with different tempo but then return for a split moment to the marching sound. This is a pretty cool track that I have enjoyed a lot, interesting and odd. The album finishes with "Elma", a relaxing song, I don't know if it could even fit under the new age genre, but it is totally different to the previous songs. This is atmospheric and peaceful. A song that clearly says goodbye and thanks.

Listen to it! You can have half an hour of good and different music that may open your mind, but I have to be honest and say that I would like to see some longer songs with more power, something that this album lacks in moments.

Enjoy it!

 Kogel Mogel by SOT album cover Studio Album, 2016
3.37 | 5 ratings

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Kogel Mogel
SOT RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

4 stars The SOTanic guys are back. The Crimsonian atmospheres are still there, but the music is less fragmented than on the first two albums and this is an aprreciate improvement. Since the first track the impression is of an album a little darker than the previous one, on which there's still some fun, enhanced by the crazyness brought in by the tuba, which in this band replaces excellently the bass.

In the first track, as example, there's an interlude whose melody would be trivial but its highly distorted. The a- capella choir on the second track is another funny interlude in aa apparently chaotic track dominated by the tuba but on which at the same time drums and guitar often play at unison with it.

The same happens on track 3, where the crazy interlude is played by the vocies and guitar and tuba play unison until a drastic change into grotesque after 2 minutes.

I go ahead track by track, but I'm already too synthetic. There's really a lot going on even if a less than 4 minutes track.

Track 4 proceeds darkly and soft. The jazz imprinting is more than evident. It brings me to a smoky club in a dark rainy night. The guest saxophonist Grzech Piotrowski deserves a mention.

Of course after a track like that we need to wake up. Don't ask me what the signature is on track 5. If irrational numbers could be used for signatures, this could be one...Again the sax helps moving toward more jazzy environments, but the basis of the track is again Crimsonian.

The trilogy of tracks guesting the sax ends with track 6. This time it's like we moved to Canterbury, This track reminds me to the early GonG, those of the instrumental parts of Angel's Egg but with a touch of darkness that GonG didn't have. The guitar riff in the final part of the track, with somebody vocalizing like a trumpet is remarkable.

If anybody wants to hear what a tuba can do, the initial part of track 8 clarifies it. The track itself is the first completely fun, without the darkness of the rest of the album.

Track 8 starts like a military march. If it wasn't for the singing closer to GonG than to the operatic vocals of Magma, I could have said "borderline to Zeuhl", but no. It's SOT and nothing else. The reason why I mention other bands is just to give an idea, but this is an original band and this song is crazy. The choir is crazy and hypnotic backed by drums first and guitar later.

The album says that some LAH guests on track 9 playing clarinet and some Kala Ukulele bass (whatever it is). I suspect the guy behind is Lars Andreas Haug (LAH are the initials). The absence of percussion and the quietness of the major chords made me think to the Camel of Rain Dances. A very nice album closure that doesn't have anything to do with the rest.

Let's spend few words for the great instrumental skill of this trio, too.

The previous releases were both excellent, but this one is even better. Surely an excellent addition to any prog collection.

 Redwings Nest by SOT album cover Studio Album, 2014
3.84 | 13 ratings

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Redwings Nest
SOT RIO/Avant-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Norwegian band SOT, short for Salt Of Tusj, has been around since 1992, when the threesome started out as a school band. The band is notable for a core instrumentation consisting of drums, guitars and tuba, which isn't the most common in the annals of rock history. They released their debut album "Kind of Saltz" in 2011. "Redwings Nest" is their second full-length production, released through the band's own label Sotanic Sounds in 2014.

"Redwings Nest" is a production that should appeal to those with an interest in music that bends, breaks and transcends common and uncommon boundaries and traditions in music alike at most times, and then occasionally deciding to explore more predictable territories on a few select occasions thus maintaining an unpredictable edge. Jazz and metal are arguably the main stylistic flavors explored, and then within an avant-garde progressive rock context with defined eclectic tendencies as the main mark of identity. A challenging production that comes recommended to those who have an ongoing curiosity about the eclectic and avant-garde parts of the progressive rock universe.

 Redwings Nest by SOT album cover Studio Album, 2014
3.84 | 13 ratings

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Redwings Nest
SOT RIO/Avant-Prog

Review by Argonaught

4 stars I learned about the Redwings Nest through a PA discussion about Andromeda Mega Express Orchestra, who are, ironically, not even listed on PA. Luckily, SOT and the Redwings Nest happen to be listed, under the RIO/Avant-Prog subcategory. The band position themselves somewhere inside the "prog-metal-jazz" triangle, but I would describe the Redwings Nest as an "enhanced contemporary fusion" album, at least after the first two listens. Remember: it's not what- or how they played; it's how they made you feel. The Redwings made me feel both stimulated and content.

If you are into non-weird, musically eloquent and expertly played avant jazzy music, The Redwings would be a valuable addition to your collection. You can test-drive the Redwings on Bandcamp, which makes it unnecessary for me to attempt describing it any further.

Four stars as of now ...

 Redwings Nest by SOT album cover Studio Album, 2014
3.84 | 13 ratings

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Redwings Nest
SOT RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

4 stars Ok, let's attempt a review about one year after my last one... I have loved the first excellent album of this Norwegian trio and I have to say that this follow-up, even if quite different, is as good as that. There are some intersting news: Lars doesn't play tuba only but we can hear an excellent trumpet riff on "Morrakvisten", plus some noises and sounds throughout the album which should be coming from his pot. Skjalg's guitar is more "rude" and distorted, especially on the first three tracks, but also later there are some very rocking parts. Last but not least, it's good hearing a drummer-pianist not playing pop tunes in his old age.... The tracks are shorter respect to Kind of Saltz, but to me this means that the band has gone directly to the core of the musical ideas. The hard start becomes softer while progressing with the tracks, some jazzy moments are not far from Canterbury, but sometimes the energy rises again. Another new is that there are some guests. Cello and strings add a touch of chamber rock. The vocalists are at work not only to sing (few) but also to add speeches and a touch of crazyness to some tracks (but I haven't given much attention to them, honestly). This album is probably less spontaneous than the first, but it's more mature.

I apologize with the band for this is surely a low-quality review, but it's my first after a lot of time. If you have liked the debut which I actually rated with 4 stars, this doesn't deserve less. If you have missed it, this album will appeal fans of King Crimson which I suspect is one of the prinicipal influencer of the band, but also Canterbury in general. It appears clear that there's a lot of jazz skill behind the trio and even in the darkest moments the music is not too difficult even for listeners not used with this kind of things.

Morrakvisten and the title track are may personal favorites, but all the album is athe same excellent level.

4 full stars

 Kind Of Saltz by SOT album cover Studio Album, 2011
3.99 | 25 ratings

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Kind Of Saltz
SOT RIO/Avant-Prog

Review by admireArt
Prog Reviewer

4 stars If Porcupine Tree dreamed a Tuba in Zeuhl and met Metallica along the way.....

An eclectic Avant Garde effort by Oslo's trio SOT. "Kind Of Saltz" 2011, is masterfully performed in all the extension of the word, yet composition wise it is a bit short of being that unique.

After all, the Tuba as such is usually considered and underestimated, as an "odd" and "cheap/humor" instrument in all kind of music environments.

But here in the open-minded RiO/AV prog sub-genre, it is as always, quiet welcomed, as any other kind of "misfit" instrument in the maistream music world.

OK!, After the thrill of listening to Of's Tuba counterpointing to perfection every rhythm of Tusj's drumming, and especially to the riffs and licks of the low-keyed but masterful Salt, the electric guitar player, I can not help but make some music associations and in fact I am not the only one as far as other SOT reviewers.

Yet I chose the "Porcupiners" because SOT's musical language is quiet "refined", as opposed to early Zappa or Robert Fripp's King Crimson (or even Mahavishnu O.), who were more focused on perfection through less Post/Math clean-cut manners and through rougher and more natural ways , like the kind of refinement Steven Wilson and company did later with those same influences.

Metallica because this kind of electric guitar full chords reminds me of them and finally Zeuhl, because the few singing is unintelligible.

All in all a highly promising first record which blends Jazz with Metal, in a very Rock in Opposition syncopated rhythm language, but also in electric guitar post/math's space/psychedelia atmospheres. With touches of angry riffs and delicate melodies (or both), which contrasts and enhances the perfect-pitch performances.

Adding to that a precise dossage of humor, this effort is well worth ****4 PA stars.

 Redwings Nest by SOT album cover Studio Album, 2014
3.84 | 13 ratings

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Redwings Nest
SOT RIO/Avant-Prog

Review by Andy Webb
Special Collaborator Retired Admin

3 stars Dynamism in music is perhaps my favorite aspect of listening to progressive rock. The breadth of the human imagination is boundless, especially when it comes to the creation of music. Avant garde music, in its various forms, is perhaps the best at this, as musicians who play this genre purposefully take the accepted norms of music and transform them into either beasts or beauties or musical creations. This experimentation does not come without its share of risk, however, as the composition and performance of music that has not already been tested and reviewed before can often lead to harsh ridicule or simply a lack of listeners.

SOT, a Norwegian avant-jazz rock band that has been around the avant scene for less than five years now, is no stranger to this risk. Their debut 2011 album Kind of Saltz was a hit amongst fans of experimental and adventurous music, myself included. The band blended a unique groovy rock backing with tuba-driven jazz riffs and motifs. The album was exciting, unpredictable, and fun to listen to. The disorganized mish-mash of riffs and styles combined for a unique, different, and altogether enjoyable album.

When I received the bands next album, Redwing's Nest, I was very excited. The band had not released an album since their debut three years prior, and I was hungry for more of the band's spicy blend of Norwegian avant jazz rock. After my first spin, however, I was confused. It felt, on first listen, that the band had lost their spark. Kind of Saltz had a ferocious yet restrained pep to them, giving a raw energy to both the melodic and not so melodic aspects of the album. From the outset, Redwing's Nest seemed to be the product of a couple of weekend jam sessions that produced a lot of great ideas that had little cohesion. But as a veteran of their first album, I was convinced I was missing something and refused to have my opinion shaped by a single listen.

I was right, to a degree. The twists and turns of SOT's music still had that element of defiance against musical norms, and a number of the songs on the album, such as "They Called Me Sotanic," "Jan Meyen," "Redwing's Nest," and "Second Row," had that element of careless abandon that made their last album so special. The instrumentation was tight and purposeful; the arrangement showed power where strength was needed and restraint where a gentler or more whimsical motif was played. This is showed best in "Second Row," which is easily the best song on the album, showing each of the band's many, many styles. The band, as they showed on their last album, can switch between a pulsating metal riff, a feathery alto sax melody, and a weaving guitar-driven avant garde riff.

Much of the rest of the album, however, felt hopelessly disorganized. I could easily tell what the band was doing with each song, and on their own, many of the riffs are brilliant, but together, there are too many songs that feel forced. The transitions are weakly formed, and the songs blend together in a less-than-appealing way. For some, this reckless song formation will be attractive, as the songs themselves are not bad in any way. The band members play with drive and passion, and the writing is a prime example of what avant garde music can be. For me, however, I was disappointed with how little it seemed the arrangement of the parts seemed to have been thought out. I'm sure the band spent a considerable amount of time on this, and I'm afraid that it didn't show as well as they had hoped.

In the end, this album is in no way bad. All in all, it's a very enjoyable album to listen to. While I would prefer to listen to "Schlatan" for Kind of Saltz compared to "Second Row," this album shows that SOT still has a strong muse and can belt out a killer riff when they want to. Redwing's Nest is a really good album, but it will only be excellent for those who enjoy the form of avant prog that is played by bands with a stronger emphasis on riff diversity than riff cohesion. 3+ stars.

 Redwings Nest by SOT album cover Studio Album, 2014
3.84 | 13 ratings

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Redwings Nest
SOT RIO/Avant-Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

4 stars SOT's followup to their debut "Kind of Saltz in 2011 comes three years later with "Redwing's Nest". Norwegian proggers Skjalg Reithaug, guitars, vocals, Lars Andreas Haug, tubmarine, trumpet, sounds, and Anders Hunstad, drums, piano, perform a quirky brand of jazz fusion with a distinct RIO feel and smatterings of manic time sigs and jerky spasmodic rhythms. In the same vein as the debut, the group inject odd meters and spellbinding musical patterns into the melodies, impulsively jumping from one estranged idea to the next seamlessly, mercilessly, and with the flash and boldness of King Crimson or Van der Graaf Generator. The album cover has a delightful artistic flair depicting an Oriental watercolour of a Cherokee Indian Angelic figure. More art like this would have been wonderful but the album is devoid of a booklet, so I prefer the debut's packaging that was so innovative and thought provoking.

The band adopt a unique soundscape focussing on a primarily instrumental approach, but with a few oddities and "audiospices" thrown in with vocal intonations and some dialogue to enhance the music. At moments, such as the title track, there is a dirty metal guitar riff with all the finesse of 'Larks' Tongues in Aspic', but then a sudden transition with a horn and the band launch into squelchy synthesizer lines. The 'Lark's' riff distortion is also heard on 'Journey' but it is so appropriate to break up the keyboard and lead guitar work, that often feels improvised. There are layers of instruments overlapped at times sounding like they are from 3 different songs but somehow it works as the ear becomes attuned to the spontaneity and chaos. The female vocals from guest vocal group PUST are very uplifting and cleanse the grunginess of the atmospheres at times, especially on 'Journey' a spiritual fusion of Avant garde, Ambiance and Jazz.

Perhaps the most unique aspect of SOT is their original method of using horns as the lead instrument, and the tuba dominates much of the melody such as on the compelling, translucent 'Han Sagde Sa'. There are blasts of heavy metal that schizophrenically battle with tuba and trumpet such as on 'Second Row', a definite highlight on this release and the heaviest track.

The rhythms on tracks such as 'Tore Hund' are intricate and amusing in the way the instruments are switched recklessly from heavy 70s psych guitar to a glockenspiel sound, then after some caterwauling some Frippian like guitar is heard and then an abrupt stop. One is never really sure where the music is heading or in what direction the band will take and this is the most endearing and exciting characteristic of SOT.

The music takes on surreal passages of Avante clashes between decisive horns and guitars and the percussion holds it all together. There are serene streams of keyboard washes, offset by quick outbursts of drum patter and guitar breaks played in perfect synth; a technical triumph that is beautiful at times and broken with jagged guitar motifs that lock in with admirable precision. The opening track 'They called me Sotanic' is a tour de force of highly engaging, exhilarating music blazing with fiery guitar and turbulent tuba. 'Odd Jethagrythe' overflows with fractured rhythmical metrical patterns, splintered drum beats and dynamic lead accompanied by chirping whistles.

'Ming Mang Dynasty' has an Oriental vibe, then launches full tilt into hyper horn and very well executed guitar motifs blasting out the quirky time sig that keeps the metronome swinging wildly out of control. 'Morrakvisten' is another grandiose example of trumpet playing and features some raucous twin lead guitar playing over an intricate signature. 'Jan Mayen' proves the band are capable of some mellower melodic music, with some lovely horn solos and ambient choral sections, though the disarray of quick musical tantrums still prevail in places. It is as though the guitars are bursting through a dam wall to make their presence felt with violent ferocity.

Overall, "Redwing's Nest" is a grand followup to the scorching debut, a showcase of infernal guitar, soothing horns and off kilter jazz drumming. SOT are worth listening to without a doubt and play some of the best instrumentals I have heard in a long while. It would be interesting to see where the band goes from here, whether the next album will feature more singing or additional instruments, and perhaps more conceptual material. The music takes on all kinds of musical ideas, and is perpetually adventurous and outrageously impetuous. For all these reasons SOT are a band worthy of our attention.

 Redwings Nest by SOT album cover Studio Album, 2014
3.84 | 13 ratings

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Redwings Nest
SOT RIO/Avant-Prog

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Redwings Nest" is the 2nd full-length studio album by Norwegian avant/progressive rock act SOT. The album was released through Sotanic Sounds in June 2014. "Redwings Nest" features the same three-piece lineup who recorded the band´s debut full- length studio album "Kind of Saltz (2011)". Skjalg Reithaug (guitars, vocals), Lars Andreas Haug (tubmarine, trumpet, sounds), Anders Hunstad (drums, piano).

The music on the album continues the adventurous take on jazz rock and progressive/avant garde rock as SOT introduced on "Kind of Saltz (2011)". There is a proud Scandinavian tradition for playing a slightly twisted take on this kind of music, which an artist like Samla Mammas Manna is also an example of (without further comparison). It´s this catagory that SOT also belong in. While there are many nods towards jazz because of the scales and the notes chosen, the fusion drumming, and the use of tuba and trumpet in a rock music format, this is certainly not straight jazz (whatever that is). These guys simply wouldn´t be content with playing within the boundaries of a certain musical style and they make sure to incorporate enough challenging and intriguing genre pushing elemens for that never to happen. They even stretch as far as to incorporate heavy metal sounding riffing to some of their tracks. Examples of that can be found in the title track (a charming avant garde rock beast of a track) and in "Second Row".

So it´s safe to say the listener is met with an adventurous and challenging listen when spinning "Redwings Nest". Fortunately SOT also know how to write a song that sticks. Not necessarily in a mainstream vers/chorus format but still accessible and inviting, even though "regular" commercial radio listeners might not agree with me here (but who cares about them?).

The three guys in the band are greatly skilled and an incredibly well playing unit. Like the case was on the debut album the tuba, which is playing the bass parts, is one of the things in the soundscape that really stands out a lot. Who would have thought that a tuba could sound so amazing and powerful (almost brutal at times) in a jazz rock setting? The rest of the instruments and the sparse vocals (both male and female) also work really well together and the whole thing is packed in a powerful and organic sound production which suits the music perfectly.

This is neither the most complex nor the most demanding jazz rock album in the world (although it´s still pretty challenging), but it´s a damn charming one, that refuses to bow to convention, and that´s always praise worthy. To my ears "Kind of Saltz (2011)" and "Redwings Nest" are pretty equal in quality and also in style and if you enjoy one it´s pretty likely you´ll enjoy the other too. SOT are arguably a class act (whith a charming wacky side) and prove it once again on "Redwings Nest" and a 4 star (80%) rating is fully deserved.

Thanks to DamoXt7942 for the artist addition.

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